After the Disco All of the Shine Just Faded Away

In an era where dance music has gotten increasingly annoying will all the beeping, repetitious beats, and bass dropping, Daft Punk recruited Nile Rodgers and had the biggest dance song of last year and the best disco song since 1978. Now I am not sure if Broken Bells recorded After the Disco in direct response to Get Lucky but it makes the perfect counterpoint to their smash hit. It is the most depressing soundtrack to the closing of Studio 64, Disco Demolition Night, and probably could have replaced Sister Christian in that Boogie Nights scene (although we would have missed out on a great air-drumming sequence).

After the Disco is the second album from Broken Bells, the duo made up of singer James Mercer of The Shins and producer Danger Mouse of Gnarls Barkley (2014 will be busy for him producing the upcoming U2 album and contributing to the new Frank Ocean and The Black Keys records). Mercer goes full Barry Gibb in the chorus of the first single Holding on for Life. Even though there is a pulsing bass, do not expect John Travolta to strut to the song. Instead this is a song that would be played on some warped planet in a future episode of a Star Trek reboot. The title track is slightly more danceable as far as beats go but lyrically may be more depressing. For anyone who likes sad song, but likes to dance, After the Disco is the album for you.

The sophomore Broken Bells record reminds me a lot of the second Gnarls Barkley album; it is more cohesive and better as a whole but individually, nothing is nearly as good as the first single off the first album. After the Disco is better as a whole than the self titled debut, but nothing on the new album that is as good as The High Road. Of course, after mentioning Gnarls Barkley, it is hard not to mention how that long awaited third album would be more satisfying than a second Broken Bells LP.

Song to Download – After the Disco

After the Disco gets a on my Terror Alert Scale.

Cant You See Me Standing Here I Got My Back Against the Record Machine

It does not take a math genius or even a calculator to realize that this year is the thirtieth anniversary of 1984, as in the Van Halen, not the book which turns 65 this year. Up until that point, Van Halen was mostly an underground band whose biggest hit up to that point was a cover of a Roy Orbison song that bordered on novelty. Then 1984 arrived with four massive hits on radio and a new music video channel. Unfortunately the band got too big and we did not get a proper follow up to the album by the collaboration of the Van Halen brothers and lead singer David Lee Roth (even then founding member Michael Anthony was let go for a third Van Helen member) and even that turned out to be the underwhelming A Different Kind of Truth.

1984, this month’s induction into the Scooter Hall of Fame, was a shock to the fans of the guitar virtuoso of Eddie Van Hanel they came to love as the first single and opening track Jump was very synth heavy, borrowing from the New Wave movement of the time but still was able to sound like a rock song. It was a smooth transition as a short guitar solo does come in at the end of the song. That single was followed up but another synthesizer heavy I’ll Wait which was more menacing than the jukebox anthem that preceded it.

Rock purists finally got the rock heroes they were used to when Panama dropped. A hard driving song with one of the greatest breaks in rock history when the band slows it down, and David Lee Roth purred, “We’re running a little bit hot tonight. I can barely see the road from the heat coming off of it. I reach down in between my legs… ease the seat back.” Before the song comes roaring back for a triumphant finish. Both Van Halen brothers shine on Hot for Teacher, possibly drummer Alex’s best work ever while Roth was never on his friskiest than on the song. Of course who could forget one of the early great music videos on MTV that probably has you wondering right now whatever did happen to Waldo?

After the album Roth embarked on a only memorable because of the music videos solo career while the Van Halen with Michael Anthony dominated the soft rock landscape for the second half of the eighties after recruiting singer Sammy Hager. Neither was able to recapture the hard rock flamboyance magic of 1984. Roth was brought back into the fold when the band was working on a Greatest Hit package which was short lived after the brothers Van Halen were embarrassed by his antics at the MTV Video Music Awards. Of course that was not nearly as embarrassing as the Gary Cherone era.

C'mon We Got to Keep the Fire Burning

Considering it was a Bruce Springsteen concert staple throughout the 00’s, it is a bit surprising that American Skin (41 Shots) never got an official studio recording until now. High Hopes is not truly a rarities album but more of a hodgepodge of rarities, covers, and reimaginings of older songs in Bruce’s catalog all recorded on his most recent tour, the first time Springsteen ever recorded an album on the road.

American Skin (41 Shots) is the most notable inclusion since it dates all the way back to 2000. The song is about the police shooting death of an unarmed twenty-three year old Guinea resident Amadou Diallo who was shot forty-one times by four plain clothed officers while reaching into his pocket, pulling out what turned out to be a wallet. Like it live counterpoint, the new version of the song is slow simmering but starts to soar with a Tom Morello solo in the middle of the song taking it to heights the older versions of the song never reached.

Morello of Rage Against the Machine, who was subbing in for Steven Van Zandt who was off filming Lillehammer during the most recent tour, contributes to eight of the twelve tracks. This includes an updated version of Ghost of Tom Joad which appeared on Rage’s covers album. The new version splits the difference between the folksy original and the high octane of the Rage version which sees the two singers trading verses.

Since some of the rarities date back a decade and a half, two fallen members of the E Street Band make a couple of appearances to the album. You can hear Clarence Clemons’ saxophone on Harry’s Place while Danny Federici plays organ on The wall. While both can be heard on Down in the Hole which sonically recalls I’m on Fire but lyrically would have sounded out of place on The Rising. Like most rarities album, High Hopes is mostly for completist as most of the songs, despite being good, were probably left off the albums they were written for because they were just not good enough to be included then.

Song to Download – The Ghost of Tom Joad

High Hopes gets a on my Terror Alert Scale.

I Was Wrong When I Decided I Would Never Meet Somebody Like You

With The Civil Wars on what looks to be an indefinite hiatus, there is an opening for the co-ed folk duo with weird sexual tension corner. Enter Grace and Tony, a self described “punkgrass” band with the same esthetic as The Civil Wars. Oh yeah, and Tony in Grace and Toby is Tony White, little brother of John Paul White of The Civil Wars. But where The Civil Wars sound like later day, Rick Rubin produced albums by The Avett Brothers, Grace and Tony sound like the rawer early records of The Avett Brothers.

But where the individual members of The Civil Wars are actually married to other people, Grace and Tony is an actual couple married to each other. Maybe this is why their debut album November is a bit cheery than his older brother band. They introduce themselves on November with Hey Grace, Hey Tony, a bouncing, old timey duet. That is followed up with the most angst riddled song Holy Hand Grenade, but still something that will get your toe tapping.

The most haunting the duo gets on the album is the title track. But there is really nothing on November which suggests they will have much success crossing over like The Civil Wars or even get they song played on crappy television shows when the writers run out of ideas and just throw in a montage to fill the hour. This duo will probably appeal to a very small niche; basically those who hear the term “punkgrass” and think cool. I am sure Grace and Tony will also be big at the next Steam Punk convention, especially the song Electricity Bomb.

Song to Download – Holy Hand Grenade

November gets a on my Terror Alert Scale.

Lets Take it Back to Straight Hip-Hop and Start it from Scratch

Without a doubt, Eminem is the artist of the 00’s; the guy sold about forty million albums sold worldwide and even his weakest album that he even described as, “Eh” still went double platinum and featured two top ten singles. But Eminem was definitely getting stale circa Relapse, each album’s first single got cheesier and cheesier and We Made You while the rest of the albums got darker and darker to the point where Relapse was essentially horrorcore. A year later, Eminem got clean, released recovery and his biggest hit of his career with Love the Way You Lie. Still I met that album with a resounding “eh” too. But at least there was not a cheesy lead single which was instead replaced with Not Afraid, an apologies for the uninspiring Relapse album.

Fast forward three years and during the middle of an otherwise unwatchable MTV Video Music Awards, there were two promos for the upcoming new Eminem album featuring a Rick Rubin produced, Billy Squier sampling, Beastie Boys referencing song Berzerk. When it hit the internets the next day in its entirety, I was ready to call it the best Eminem song since Lose Yourself. Then he released the stadium anthem Survival (seriously, all high school and college bands better be learning this song as you read this) which is the second best song he has done since Lose Yourself.

So for the first time ever, I was excited for an Eminem album with his seventh release The Marshall Mathers LP 2. Why a sequel to his thirteen year old album? Who knows, probably marketing (segments of Stan and The Real Slim Shady do get resurrected). The album does have an old school feel to including Berzerk and Eminem name drops plenty old school rappers and jams on Love Game, yet another track produced by Rick Rubin which samples the sixties teen pop song Game of Love by Wayne Fontana & The Mindbenders.

All four Rick Rubin produced songs are built around well known rock songs. Obvious first single Berzerk is by far the best but by the fourth Love Game, you start to wonder why they would sample this. The Zombies sampling Rhyme or Reason has Eminem answering the questions Time of the Season ("What's your name?" "Who's your daddy?") and is reminiscent of the last time he sampled classic rock on Sing for the Moment and takes aim at his absentee father who gets referenced occasionally but rarely gets his own song (especially compared to his mother). So Far… flips Joe Walsh’s Life Is Good which does not work as well as it should have. Maybe Rick should have saved that beat for Kid Rock who would have known to do with the southern rock jam.

The new album does not stay completely in the past. Rap God features a futuristic beat that Jay-Z would have loved to come across his desk during his Blueprint days (but could not handle it these days) and Em just slays it as one as his best flows to date. Even more impressive is the song goes six minutes and he never slows down and actually builds with every second. The album does slow down on back end. The Monster featuring Rihanna just falls flat compared to Love the Way You Lie. Headlights is another ode to his mother, but this one is a sincere apology made worse by the inclusion of the dude from Fun.. And for those wondering where the song that takes down pop tarts, on the album closer he admits he is bored with that, “So who’s left? Lady Gaga? Bieber? Nah.” But overall, this is the rare sequil that lives up to the original.

Song to Download – Berzerk

The Marshall Mathers LP 2 gets a on my Terror Alert Scale.

Musings from the Back 9: Music Edition XVIII

After being a critical darling for years, Kings of Leon shot for rock supremacy with their fourth album Only By the Night (okay, technically they tried with their previous album but failed) and became the biggest band in the land thanks to throbbing rock songs like Use Somebody and Sex on Fire. Like most rock bands, they did overindulge with their follow up (of course they brought in a black southern church choir for the album’s first single). Then on cue, like every other brotherly based band (see the Gallagher’s, the Robinson’s, the Davie’s et. al.), they imploded on themselves while on tour. After a three year layoff repairing those bruises, the Followill brothers (and one cousin) are back with Mechanical Bull. Sure it will not do as big as Only By the Night, and maybe not even Come Around Sundown, but it sounds like the most fun they have ever had. Case in point is first single Supersoaker: no “serious” rock band has been this silly and catchy since U2 released Discotheque. Songs like Family Tree are just as fun. They do occasionally try for stadium anthems again like Come Back Again, but the album is much better when they are clearly just sitting back and having some fun.

Mechanical Bull gets a on my Terror Alert Scale.


Diane Birch quite possibly made the best seventies blue eyed Philly soul album of this century with her debut Bible Belt. But that was four years and since then it sounds like Birch updated her sound by a decade because sophomore outing Speak a Little Louder is a decidedly more eighties shoe-gazing new wave sound which is more in the line these days with the music of Daughter than Mayer Hawthorne. Speak a Little Louder is a more synth driven, darker sound than her debut. Although the music of the title track is very reminiscent of Michael Jackson’s Stranger In Moscow (I would have never thought of Jackson as a shoe-gazing fan of synths, but after making this connection, it makes his sound more interesting than I first thought). The best song on the album Tell Me Tomorrow which is the most upbeat, and least synth dependent song on the album. There are a couple of other influences throughout the album, Love and War has a disco beat to it, Pretty in Pain is the closest she get to the sounds of her debut, while Frozen Over sounds like a long lost Pat Benatar song. I appreciate Diane trying to expand her sound, but I do prefer the Philly soul version. Now I wonder which nineties genre will inspire her for her third album.

Speak a Little Louder gets a on my Terror Alert Scale.


The latest trend for legacy artists is to rerecord their biggest hits with the biggest stars in country today. Both Lionel Richie and John Fogerty have done so in the past year. The latest to do so is Willie Nelson. But do not expect Willie to just piggyback past artists. First off, as the title To To All the Girls... suggests, Willie only duets with the fairer sex. And do not expect Willie to bring out his biggest hits and just add a female voice to them, really aside from Always on My Mind there is not a massive hit of Willie’s on this album. Half of the songs on the album are written by other people like Bill Withers and even Folgerty’s own Have You Ever Seen the Rain, one of the album’s best as recorded with his daughter Paula. And though he brings out heavy hitters like Miranda Lambert and Carrie Underwood, most of his duet partners are his contemporizes like Dolly Parton and Loretta Lynn as well as some newbies like Brandi Carlile and Melonie Cannon. All the songs are ballads and at eighteen tracks, that does drag on a bit. But like his fellow Highwayman Johnny Cash, Willie is still aging quite well.

To All the Girls… gets a on my Terror Alert Scale.

Let Me See Your Skeleton Well Before Your Life Is Done

Back in August, John Mayer dropped his second album in fifteen months. Paradise Valley pretty much sound like the cheerier B-side to Born and Raised. Something must be in the water supply on the folk-rock circuit because The Avett Brothers are back with Magpie and the Dandelion just thirteen months after the release of their last one. After recording the folk version of U2 album I and Love and You, the band reconvened with producer Rick Rubin to release their most mellow, traditional folk album The Carpenter and had enough material left over to release an entirely new album.

Much like the latest John Mayer album, Magpies and Dandelion definitely sound like it was recorded during The Carpenter session (probably because it was) but may even be mellower than its predecessor. One of the few upbeat tracks, which happen to be the best song, Another Is Waiting which harkens back to the group’s pre-Rubin days ware their sound was more raw and unrefined. Other than that, one of the few other upbeat tracks is the album opener Open Ended Life which featured a rare electric guitar. Do not worry Avett purists, it is a sign of a new direction and the song also features plenty of banjo and even a harmonica for good measure.

I do wish that Open Ended Letter was sign of a slight change in direction because most of the rest of the album just comes off as B-sides of songs off The Carpenter. Really. Magpies and Dandelion and The Carpenters is essentially just a double album just happened to be released a year apart. The album does deviate a few other times from the mellower side of folk, Morning Song soars like then anthemic songs from I and Love and You or the sweet vocals and acoustic guitar live track Sounds Like the Wheels (if you have never seen The Avett Brothers live or at the very least listen to one of their live albums, remedy that soon). Still, if The Avett Brothers release another album in just thirteen months, I will not be complaining.

Song to Download – Another Is Waiting

Magpies and Dandelion gets a on my Terror Alert Scale.

Everybody’s Thinking That They’ll All Be Delivered Save it in a Box Like Lost and Found

Two years ago, Pearl Jam celebrated their twentieth anniversary with a Cameron Crowe directed documentary and now the band is back after their longest layoff in between albums (four) with their tenth album, Lightning Bolt. While many of their peers from the alt-rock nineties are content with putting out albums for an excuse to hit the nostalgia circuit with new songs giving fans an excuse to go to the bathroom, Pearl Jam hit a career resurgent with their 2006 self titled album which was their best album since their early nineties output.

That continues with Lightning Bolt, the first couple songs that recall those first three albums. Getaway is just classic, straight ahead rock reminiscent of Last Exit. That is followed up by Mind Your Manners and the band has not been this agro since Spin the Black Circle. Lightning Bolt may be at its best when it has its more classic rock elements like on the title track which would have been in heavy rotation on AM Radio in the seventies as well as the first couple tracks.

It is not all retro for the band and they have clearly grown up over the last couple years. Sure the band has recorded a few ballads in their days, some with power behind them, but Sirens may be the band’s first traditionally sounding power balled they have ever recorded, complete with an “ah, oh” repeating ending. The song will certainly raise a few lighters when performed live in concert (for better or worse; it may take a couple weeks before I decide which side I fall down on). For a song more on the pure ballad side, Sleeping By Myself may be the sweetest song the group has ever done and sound like something that would sound less out of place on Eddie’s ukulele album than a Pearl Jam album.

The album does get a little interesting in the middle with Infallible, Pendulum, and the swinging Let the Records Play but they are not the big chances they took on Vs. or Vitology. Lightning Bolt ends with another uncharacteristic ballad Future Days that may have also been written during Vedder’s ukulele period, this time complete with strings. But it is another sweet and hopeful song that shows that the band is one of the few that actually ages well. If Pearl Jam continues on this path, it may be a while before they get to the album full of “bathroom“ songs phase of their career.

Song to Download – Future Days

Lightning Bolt gets a on my Terror Alert Scale.

Nothings Gonna Wake Me Now Cause Im a Slave to the Sound

Lorde was not the only highly buzzed about new artist to release an album last week (see my review: I'm Kind of Over Being Told to Throw My Hands in the Air). Much like Lorde, Haim built their buzz with critically adored EP and plenty of high profile endorsements (in the case of Haim wide ranging artists from Rihanna to Mumford & Sons have express support) but unlike Lorde the three sisters of Haim (and one unseen male drummer) have also build a reputation of a great live act playing basically every major festival over the past year.

Unlike Lorde whose debut album was made up almost entire of new songs, Haim does recycle half the songs on their full length first album Days Are Gone from their previous EP’s, whether this is a good thing or not depend on if you already bought the EP’s or not. Even as a listener it is a bit disappointing that much of the album is not new. But to steal the NBC’s slogan from decade, if you are just hearing of Haim for the first time, the songs are new to you.

If you are new to Haim, there is a reason why everyone from Rihanna to Mumford and Sons are championing the trio; they check almost every musical box you can think off. The first thing I heard was Falling (which is also the first track on the album) which harkens back to Southern California rock of the seventies like Fleetwood Mac, a comparison that deepens as each sister trade off lead vocals, but they also combine their voices that are reminiscent of nineties RnB. They go deep on RnB with songs like Go Deep with its penetrating bass worthy of any slow jam from two decades ago. There is also a pop sensibility of that other sibling band Hanson, but since all the members of Haim are legally able to buy beer, there is not an underlying cheesiness to them.

Haim’s influences sometime get too prevalent. Most notably on the first new single off the album The Wire which completely lifted another seventies So-Cal band The Eagles guitar riff from Heartache Tonight. And on Forever, it is hard not to hear the synthesizers from New Order’s Bizarre Love Triangle. It is a fine line between homage and stealing and Haim toes the line a little too close a couple times on Days Are Gone.

For those familiar with Haim’s previous EP’s, the group gets weird and dark on some of the newer tracks on the album which makes it more diverse than the very homogeneous Pure Heroine that Lorde put out. My Song 5 sound more like something you would hear on a Dirty Projectors album than from the group that put out the Forever EP. While Let Me Go is a menacing track to that could have been a hit on alternative rock stations back in the nineties.

Last Tuesday was the deadline for the 2014 Grammy awards which is probably why Haim and Lorde (and a few other artists) dropped their album on Monday. Both are angling for a Best New Artists nomination, which should be a lock for both, along with Kacey Musgraves as well as maybe Capital Cities, Macklemore & Ryan Lewis (assuming they are eligible, the rules for the category are fuzzy so not so new acts like Imagine Dragons and Kendrick Lamar may also be in the mix even though they do not seem very "new"). And the last two entrants may be the ones to beat next January, being fresh in a voters mind is usually a good thing. Lorde may have the inside track because of the smash Royals but Days Gone By is a much more fun album.

Song to Download – Falling

Days Are Gone gets a on my Terror Alert Scale.

I’m Kinda Over Being Told to Throw My Hands in the Air

“For so long, pop music has been this super-shameful thing, where people don't want to be associated with it, they want to be on Pitchfork. But the way I see it, pop music doesn't have to be stupid, and alternative music doesn't have to be boring; you can mesh the two together and make something cool.” Lorde ladies and gentlemen. The teenager from New Zealand slowly rose up the American pop charts with her song Royals until it hit number one on the iTunes charts where it has locked down for two straight weeks.

Royals is a sly song that draws you in with lyrics about Cristal and gold teeth but it is not until the third or fourth listen when you realize that it not just another song about wealth and greed but an anti-materialism song making fun of the people that glorify such things. Now one has pull off this switch-a-roo better since Rage Against the Machine attacked angry teenagers with loud guitars and lines like “(Expletive deleted), I won’t do what you told me,” before getting them to realize that some that work forces in fact do burn crosses.

Royals is the only holdover from her Love Club EP (which is a shame because Bravado may be the third best song she has done while and Million Dollar Bills, Love Club as well as The Replacements cover Swinging Party from the Tennis Courts single would have also been some of the better songs on the album but I am sure they will be added to the “Deluxe Edition” at some point) to be included on her full length debut Pure Heroine. Tennis Court, which was released as a single back in spring, is also on the album. As hinted at on those previous releases, the full length album features songs that sound like what Lana Del Rey wishes she can make: music that is sparse and epic at the time and sound like what The xx may sound like if they aspired for pop chart dominance. All with lyrics by someone who realizes there is no upward mobility for her living in a city you will never see on screens and she is fine with that with shot at people who foolishly aspire to that lifestyle but do not even want to work for.

The devil may care attitude does wane near the end of the album when she starts singing about Glory and Gore and putting White Teeth Teens on blast. But Pure Heroine does finish strong with A World Apart, the second best song here after the smash hit single. It is the most danceable track Lorde has done in her short career and the first time she features a song that has something that resembles a guitar. Though the subject matter is still the same as the previous songs on the album (“people are jerks”), it is much more fun as she starts dancing in the world alone. If Lorde can put out music this good as a teen, it is hard to think how good it will be when she gets some more experience under her belt. Or maybe this is it, and she will be starring horrible Syfy movies in twenty year (sorry Debbie Gibson). Here is hoping for that former and there are enough Lorde like singers to follow that will bump the Katy's, Gaga's, and Miley's off the pop charts for good.

Song to Download – If you already picked up Royals from The Love Club EP, gives A World Alone a download

Pure Heroine gets a on my Terror Alert Scale.

This Year Halloween Fell on the Weekend

Okay, for anyone who has already flipped over their calendars will have noticed that this year Halloween actually falls on a Thursday. But in defense of the guy who first uttered that line, his mind was playing tricks on him. In fact in 1990, when Bushwick Bill rapped that line, Halloween also fell on a Thursday. Plus when he declared it was Halloween, later in the verse, it did not even turn out to be close to Halloween.

The line was the centerpiece of the seminal gangsta rap track My Mind’s Playing Tricks on Me by Geto Boys. At the time when west coast rappers were glorifying the gangsta lifestyle, these Houston boys were tapping into the paranoia real gang bangers had at the time having to constantly look over your shoulder for the cops and other gang members. To up the paranoia, the cover of the album We Can't Be Stopped, this month’s induction into the Scooter Hall of Fame, featured Bushwick Bill in the hospital after he shot himself in the eye.

The boys do not spend the entire album sitting in four cornered rooms starring at candles and go on the offensive, taking aim at Queen Latifah (I’m Not a Gentlemen, their answer back to her Ladies First), the Grammy’s (Trophies), and even their own record label who would not distribute their previous album (the title track). Though the Fresh Prince beat Bushwick Bill rapping about a horror film antagonist by three years, the Geto Boys’ Chuckie, based on the Child’s Play doll, is as scary as the actual movie. In another pop culture reference, Willie D recorded a song based on the Homey D. Clown catchphrase Homie Don’t Play That which was just as angry as The Living Color sketch.

Though this year Halloween does not fall on the weekend, every October is a good time to sit along in a four cornered room starring at candles while listening to the Geto Boys.

Musings from the Back 9: Music Edition XVII

It is easy to write off Jack Johnson as a modern day hippie or the beach bum equivalent of a beach bum, who is so mellow he can gets lampooned by Andy Sandberg on The Mellow Show sketch on Saturday Night Live. Sure Johnson got his revenge on Samberg in the hilarious At or with Me music video. If you have already dismissed Johnson, his latest From Here to Now to You is not going to change your mind as it is filled with another batch of sleepy acoustic song. Of course if you own all or most of his previous catalogue, you will be happy to know that the new album is filled with even more sleepy acoustic songs to play in the early evening be it around a bonfire on the beach or in your landlocked back yard.

From Her to Now to You gets a on my Terror Alert Scale.


I usually start off my reviews for new albums from The Roots by saying how I thought their album releases would become far and few in between after signing on as Jimmy Fallon’s house band for Late Night, but this is actually their fifth album since taking the gig in 2009 (and there could be a sixth one coming as soon as later this year). Wise Up Ghost is their second collaborative album, but where the soul classic cover album with John Legend made sense, most people had to do a double take when it was announced they would do one with Elvis Costello. Wise Up Ghost (of which the title track is the best song on the album) continues the experimental sounds of Undun mixed with Costello’s voice and lyrics about urban decay. The combination is as weird as you would expect, but it will take many more listens before I decide if it is a good weird or a bad weird. Check back in December when I do my list of the best albums of the year to see where Wise Up Ghost lands to see where it falls.

Wise Up Ghost gets a on Terror Alert Scale.


A year before Kimbra and two years before Lorde stormed the American charts all the way from New Zealand; fellow kiwis The Naked and Famous released their ultra catchy indie-pop anthem Young Blood that should have been as big as Somebody That I Used to Know and Royals. But now that their countrywomen pushed opened the door they cracked for them, The Naked and Famous are poised for their breakout moment. Except there is nothing as intrinsically catchy on their sophomore album In Rolling Waves like Young Blood from their debut. The closest is first single Hearts Like Ours which comes off like a more mature and pensive version of Young Blood. But overall the new album is just missing some punch.

In Rolling Waves gets a on my Terror Alert Scale.

I am Sharper than a Razor, Eyes Made of Lasers

Yes the second album from Janelle Monáe, The Electric Lady is a concept album. And not only is a concept, it is actually a sequel to her debut album and an EP before that which are about time-traveling messianic cyborg named Cindi Mayweather, played by Monáe, who’s been tasked with delivering an oppressed people from the clutches of The Great Divide, a dastardly corps of other time traveling robots. But do not let the concept album label or the sci-fi plot scare you off, if you went into the album without that knowledge, you would not even notice it at all except for three interludes presented as a radio talk show host DJ. And those tracks can be easily deleted if you download the album.

On her debut, Monáe set herself up as the new millennium, slightly more feminism version of Prince with a live show reminiscent of James Brown. So it is apropos that the purple one himself shows up on the first full song on The Electric Lady pulling out his killer falsetto and a guitar solo, but the real star of Givin Em what They Love is one of the funkiest bass lines you will hear all year. This starts an onslaught of collaborations with Erykah Badu (Q.U.E.E.N.) and Solange (Electric Lady) showing the ladies can be funky on their own.

Naturally things slow down when Miguel shows up for Primetime, a song the just oozes pure sex. Ladies, you may just get impregnated by it just from listening highlighted by another great groove (seriously, Janelle’s bassist needs to show up on ever RnB record for the next decade) and is an instant add to any baby-making playlist.

After the guests have left the building (the bane of Justin Beiber fans existence Esperanza Spalding does show up on the penultimate track) and two more dance songs, it sounds like Monáe is trying to audition to sing the next James Bond theme starting with Look into My Eyes. And not one of those crappy modern day Bond Themes, but one from a cool sixties Bond movie. And though the album slows down for a bit in the second half, it does finish strong What an Experience, a syth driven song that would not have sounded out of place on the radio back when Price was ruling it back in the eighties. The Electric Lady is an upgrade over The Archandroid and here is hoping that the final saga of Cindi Mayweather is even better still.

Song to Download – PrimeTime

The Electric Lady gets a on my Terror Alert Scale.

A Little Bit of Summer Is What the Whole Year’s All About

Each previous John Mayer album had a definite musical theme. Room for Squares was his pop album. Heavier Things was his soul album. Continuum was his blues album. Battle Studies was his crappy concept album about dating Jennifer Aniston. While last effort Born and Raised was his folk album. From the first listen of Paper Doll, the first single off of Paradise Valley, it sounded like John may be going back to his Heavier Things days with its more experimental guitar sounds against a lazy track. But as it turns out Paradise Valley is essentially a sequel to Born and Raised released just fifteen months prior, complete with the same producer, Don Was, with a few exceptions.

The most fun part of a new Taylor Swift album is trying to figure out which song is about whom. The biggest gimmie on any album was Dear John, a not at all thinly veiled reference to Mayer and John was not at all happy, essentially calling it bad songwriting to be so obvious. Maybe John has changed his tune or thinks he is more clever because it is hard to hear Paper Doll and not think of Swift especially the lie about being “22 girls and once” considering her last album featured a song entitled 22. Even more directed is Dear Marie which sounds like John trying to reconnect with a high school crush. But then again, who really cares about some chick that he went to high school with.

Musically Paradise Valley is akin to Born and Raised, but thematically, the two are much different. The last album saw Mayer wallow in his own sorrow of bad press (from the Swift break up to his racist genitalia) where he found himself trying to convince himself that he is “a good man with a good heart.” Apparently Mayer is done with the whiskey to dull the pain because Paradise Valley is a much more cheery affair. Album opener Wildfire is a rumbling jaunt. After an album hiatus, Mayer brought back a token cover song. This time around he reworks Call Me the Breeze by J.J. Cale, a song even more poignant after his death last month. But the song is still a great driving down a country road kind of song.

Mayer has long collaborated with other musicians only his albums but Paradise Valley is the first time he lets other singers take over the vocals. First up is girlfriend Katy Perry for the duet Who You Love where the two mixed matched pair try to explain their relationship to little avail. It is clear why Perry just sings cheesy pop music because her voice is just not suited for more serious material and just makes Mayer come off as cheesy. Frank Ocean shows up on Wildfire. No, not the opening track, there is another song of the same name as track number eight. In true Frank Ocean fashion, his Wildfire, the song only features his voice, is weirdly beautiful and has no connection vocally or musically to the Mayer version aside from having the word “wildfire” in it. After Mayer appeared on Ocean’s debut and Ocean appears on Paradise Valley, one has to wonder if their singer-songwriter version of Watch the Throne is next for both of them.

Song to Download – Paper Doll

Paradise Valley gets a on my Terror Alert Scale.

What Rhymes with Hug Me?

Had you told me back in January that the song of the summer would end up coming from Robin Thicke, I would have thought you were crazy (granted had you told me in January 2012 that the song of that summer would come courtesy of a Canadian Idol castoff, I would have thought you were much crazier). Nothing against Robin Thicke, but up to this point he had been making middle of the road blue eye soul that was much more suited for the bedroom than the block party. Yet here we are in the middle of summer and it looks like Blurred Lines will end up edging out the superior Get Lucky as the unofficial song of the summer.

Sure Thicke has an unfair advantage considering that the song was already an established summer jam when Marvin Gaye released the song under the title Got to Give It Up, Pt. 1 all the way back in the summer of 1977 (well that and hot naked chicks). Much like the song, the album Blurred Lines is Robin’s first full foray into dance music. There really is only one slow jam, and the Rest of My Life does not even show up until late in the album at track number nine.

Thicke’s transition into dance music is not as smooth as the song Blurred Lines the song would suggest. The lyrics can get very cringworthy like the obvious date-rapey vibe of the title track (though I find the lyrics to sound like that of a middle school boy hoping to get lucky by being persistent). Even worse is when he actually admits, “I want to shop for your underwear” during Take it Easy on Me. The beats are not much better. Unfortunately Pharrell only produced the title track while Thicke himself co-produced over half of the other tracks. Dr. Luke produced the worst track on the album Give it 2 U which sounded like a LMFAO castoff that Thick tried to imagine.

The album is so derivative, there are times where I actually thought I was listening to a new Justin Timberlake song (most notably Ooo La La), and that is not meant to be a compliment. The best track on the album is one of the few non-dance songs and is not even a baby-making song. The Good Life is a mid-tempo driving with the windows on a summer evening kind of song. Almost modern do-wop but not too much where it sounds like he is stealing Bruno Mars soun. The album would have been much better if there were more songs like this and fewer songs that were completely derivative of significantly better songs.

Song to Download – The Good Life

Blurred Lines gets a on my Terror Alert Scale.

I Don’t Want to Fight but I’ll Fight For You if I Have To

What exactly is going on with The Civil Wars? The release the best debut album of the decade so far, start winning Grammy’s with Taylor Swift, then out of nowhere while on tour in Europe, they canceled the remainder of that tour and went on hiatus due to “internal discord and irreconcilable differences of ambition.” What!?! Despite the discord they managed to record another album (or two if you count the predominately instrumental soundtrack to A Place at the Table with T-Bone Burnett). The discord continued with the lack of promotion of the album which so far has only involved two interviews by Joy Williams and a music video which is just a bare bones behind the scenes recording the song. The other half of the duo, John Paul White, has yet to say anything on the album or pretty much everything since the dilution of the tour last year.

In the interviews, Joy continually says that if you want to know to the group, just listen to the new album. We got a sneak peak last month when the duo released the first single of the self titled sophomore album The One that Got Away. As in “I wish you were the one that got away.” It actually reminded me of I Got This Friend from the first album with the line “If the right one came along” and The One That Got Away is the dark twisted sequel to I Got This Friend. The One That Got Away is that dark and ominous. Sure most of their debut was very moody, but The One that Got Away made most of Barton Hollow sound like I Want You Back. The Jackson 5 version.

On first listen as the album as a whole, it is hard not to dwell on the “irreconcilable differences of ambition” part of the statement because it is very noticeable who much more of Joy is heard on the album with John Paul relegated to just harmonies on half of the tracks. It is easy to assume that Joy is the more “ambitious” at least in terms of output which is backed up by she is the only one currently doing press.

After the first single the best song on the album is Dust to Dust (which follows the equally troublingly titled Same Old Same Old). The song features the closest thing the group has ever done to a groove, and it is a slow groove that could have become a Middle School slow dance staple if the subject matter was not so depressing. And to emphasize just how darker this album is (aside from the eerie cloud of smoke on the cover) is the choice of cover last time around. As previously mention lat time out, they turned I Want You Back into a ballad. On The Civil Wars, the do opted for Disarm, the one of the angstiest of all the angsty Smashing Pumpkins song which children of the nineties will remember as the song where Billy Corgan screamed over and over again, “I used to be a little boy.” The Civil Wars stripped the song of any angst, and pretty much everything else but an acoustic guitar and turned it into the most haunting song in the short catalogue. Which is saying a lot.

Much like Fleetwood Mac Rumours, the music The Civil Wars made out of internal discord is heartbreakingly awesome (The One That Got Away even features a similar bass breakdown from The Chain). Hopefully much like Fleetwood Mac, The Civil Wars can find a way to continue to make great music together for another decade. Or three.

Song to Download – The One That Got Away

The Civil Wars gets a on my Terror Alert Scale.

Take Me Where You Go Only Higher

If you were born the last time Toad the Wet Sprocket released an album, you may just received your driver’s license but the band recently reconvened and will be releasing their new album in the new reality in the new millennium, through crowd sourcing (their Kickstarter has already been funded but if they reach $250,000 by Sunday, all backers will receive Live EP from their August Tour). For those born before their time, Toad the Wet Sprocket was a college rock band in the age of alternative music, more R.E.M. than Smashing Pumpkins. Yet the same year, R.E.M. relented to the times and made its grungiest album ever with Monster, Toad stayed the course and made their best album of their career, Dulcinea which is this month’s induction into the Scooter Hall of Fame.

Granted by today’s standard, Toad the Wet Sprocket could be considered Dad Rock with mellow songs like the album opener Fly from Heaven, the plaintive Windmills, the playful Nanci, and the moody and retrospective Something’s Always Wrong. But to show you just how out of touch they were with the agro guys of the time, I remember the local disk jockey pronouncing the title “Dull-Cin-da” once even in front of the band during an interview. Apparently the guys at the alternative rock station were not familiar with the Don Quixote love interest.

That is not to say Toad could not rock, though they never went full agro, there was still some heaviness to songs like Woodburning, which may have been the closest thing the band themselves ever got to grunge. The best song on the album was the one Toad song that would not sound out of place in a mosh pit: Fall Down. The frantic track verges on paranoia and anxiety as we transitioned into the mid-nineties, but the song never lost control which many of the alternative bands of the time would have done. The upcoming album New Constellations may not live up to Dulcinea, but it is good to have Toad the Wet Sprocket back on the scene.

When the Music's on She Can Do No Wrong

After years of trolling in relative obscurity, a blue-eye soul man finally had a smash hit this year. But enough about Robin Thicke, let’s talk about a blue eyed soul man who actually deserves big success: Mayer Hawthorne. Where Thicke needed six album to reach the top of the pop charts, Mayer Hawthorne is still on album number three just releasing Where Does This Door Go. But much like Robin, he worked with Pharrell Williams, who has had a career resurgence this year, who produced three songs on the album.

None of those tracks have the instant catchiness of Blurred Lines, but The Stars Are Ours sound like something that may have come out of a session from Pharrell’s other summer smash hit Get Lucky if he skipped the electric sound of Daft Punk and made a song completely organic. Pharrell also contributed to what is probably Mayer’s most personal song yet, Reach Out Richard about his father.

The cover and title may suggest a more reflexive turn (and the title track is a bit darker and as close to Pink Floyd as a blue eyed soul man can get), but the album is a much more danceable affair than his previous two. And Mayer also trade in his trademark falsetto for his normal tenor voice for most of the album, one of the few time he goes into the upper register is the last song Pharrell produced on the album and Wine Glass Woman is the song where Hawthorne sound most like Pharrell. The album closes with maybe the least Mayer Hawthorne song he has ever recorded with All Better, it is still in his retro wheelhouse, but trades in old time soul to oldies pop in the vein of The Beatles type power ballad. It may not come with a song off of Where Does This Door Go, but if there is any justice, Mayer Hawthorne will have his breakout moment very soon.

Song to Download – The Stars Are Ours

Where Does This Door Go gets a on my Terror Alert Scale.

Say What You Wanna Say and Let the Words Fall Out

With her first two albums, Sara Bareilles recorded two late songs that were not so thinly veiled at her record company still looking for a single, which both Love Song and King of Anything became to launch the albums. Either the record label did not meddle this time around or she was tired of writing snarky anti-love songs because the first single off her third full length album The Blessed Unrest was the positive and upbeat Brave.

Maybe the record company should have irate Sara because the self empowering anthem Brave is the weakest of the three lead singles (but at least we got to see her dance in the music video which was entertaining in itself). And without the instant smash single to lead the album, the rest of The Blessed Unrest feels like a bit of a letdown as a whole without a song to latch onto.

Despite that lack of something initially bring you in, there is still plenty of good songs on the album, just nothing great. If you like your Bareilles songs to go towards the mellow stripped down route like Gravity, check out the loungey (in a good way) Manhattan. That is followed up with the spacey, equally as beautiful Satellite Call which may very well be her weirstest song o date. The album ends with December, a passionate ode to a past love. But The Blessed Unrest would probably be more memorable if it started up with something snarkier.

Song to Download – Manhattan

The Blessed Unrest gets a on my Terror Alert Scale.

Someone’s Gonna Get Hurt and it’s not Gonna Be Me

Skylar Grey released her first album under the name Holly Brook back in 2006, a year before the female singer-songwriter boon launched by Sara Bareilles. But the Wisconsin native was much more moody than the others that came out of Southern California. Seven years, a name change and a bunch of singles that did about as good as her previous iteration, her sophomore album Don't Look Down is finally out.

Not surprising since Grey has made the in between years writing and singing hooks for rappers like Dr. Dre, Diddy and most famously wrote the Rihanna part for Eminem’s Love the Way You Lie, the new album takes on a more electric feel compared to her predominately acoustic debut (the piano only album closer White Suburban is the only song here that would not sound out of place on the Holly Brook album) . There are guest spots from Big Sean, Angel Haze and Eminem even repays the favor. Except none of those songs work especially the Eminem assisted C’mon Let Me Ride which aims for the charts with overly charged double, and a couple single, entendres but just comes off as embarrassing even if the song was meant to be either semi or fully ironic.

Though the music has taken a decidedly more hip-hop songs which rely heavy on drum loops, vocally and lyrically, the new album sound very similar to her debut (with decidable more expletives littered throughout the album). The songs oscillate between moody and sweet effortlessly (which the exceptions of whenever a rapper shows up to take you out of the mood). The best of the former is Final Warning where Skylar goes where many before her in the past decade have gone before by taking revenge on a former boyfriend. But where Carrie underwood is cute when she talks about taking a baseball bat to a dude’s pickup truck, when Skyler talks about picking up a knife, says, “Somebody’s gonna get hurt and it’s not gonna be me,” and then taunts him with some na na’s, you actually fear for the guy. And yourself a little.

On the nicer side of the album, Sunshine is an upbeat song and if you strip away the drum machine and add some banjo, the song could easily become a country radio hit. Don’t Look Down can be a bit schizophrenic at times, but Skylar Grey is turning out to be much more interesting than Holly Brook.

Song to Download – Final Warning

Don’t Look Down gets a on my Terror Alert Scale.