"You might think I'm crazy, but I'm serious."

If I look that good in a skin-tight bodysuit when I'm 44, life will be grand.

It's been a while since I've done any sort of writeup for a show. In fact, it appears that the last show I blogged about was when I saw The Ravonettes in October of 2009. Rest assured, there have been shows in the interim - Sharon Jones and the Dap Kings, Yeasayer, Beach House, Lady Gaga, Crystal Castles, Hall and Oates, and probably a few others that I can't recall at the moment. This is all to say that I've been a bad music blogger. So I'm here to remedy with a report on this weekend's Janet Jackson show at the Borgata in Atlantic City.

The Borgata Events Center is shockingly small. I expected an intimate venue, but we're talking about 2,000 seats, maybe less. That being the case, I imagine that there wasn't a bad seat in the house, but the 14th row was still a good place to be (albeit not in the center section). In reality, it could have been General Admission on the floor, but I digress.

At each show on this tour, Janet dedicates a song to that city. This seems to me a simple way of giving something distinctive to each performance, though I wonder what real value the gesture has. What this amounted to was being teased with the video for "The Pleasure Principle" just prior to Janet taking the stage.



Then the band launched into their live rendition of the track, one of my favorites from 1986's Control LP.

After that, it was pretty much hit after hit, which was to be expected given that the tour is promoting her Number Ones collection (I pointed out the punctuation error while we waited for the show to start). I can't find a full setlist but they were pretty much all there - "Control," "Miss You Much," "If," "That's the Way Love Goes," "What Have You Done for Me Lately," "Nasty," "Rhythm Nation," "Escapade," "Together Again," ""You Want This," "Alright," "Love Will Never Do (Without You)," and more that I can't remember. There was even a bit of "Scream." Good stuff. There was also a nice little segment of ballads including "Come Back to Me," "Let's Wait Awhile" and "Again," the latter of which never fails to remind me of eighth grade dances. The only jams I really wanted to hear but were absent were "Black Cat" and "Go Deep." Alas and alack (though they have popped up on other dates).

At these pop shows, I'm always critical of lip syncing. It was one of the things that most bothered me about the Lady Gaga show, though it was expected. I watched and listened closely to Miss Jackson ('cause I'm nasty), and had a difficult time distinguishing whether or not she was singing live. These leads me to believe that either a) she was singing live or b) is adept at masking the fact that she's lip syncing. My guess is that ultimately, it was a mix of both.

While some of her dancing duties were relegated to the troupe of backup dancers she had on stage, Janet really brought it at key moments with the iconic moves from her signature videos ("Miss You Much," "Rhythm Nation," "If," for example). I was a little saddened that "Miss You Much" was done sans chair routine, though.



In short, it was a great show, well worth the ticket and the trip.

Gonzo Reviews Michael Jackson's "Vision"

For years, I've bemoaned something that Prince, MJ and Madonna all have in common: Each has at least one video collection on the market, but none of the 1980s triple crown of pop has a definitive collection. That tide appears to be shifting. While it's still not "complete," Madonna's 2009 collection Celebration is a fairly comprehensive 2 dvd set covering 1983-2009 (still no "Gambler?" For shame). Prince's incredibly slim The Hits Video Collection remains his only career-spanning collection, and lacks many of the Purple One's promo films (too many to bother listing).

And then there's Michael Jackson. The artist who rather early on redefined music video as an art form and MTV as a cultural force. 1992's HIStory collection gathered the hits, some in truncated form (on the VHS release anyway). The companion volume repeated some of the hits from volume 1, along with videos from the HIStory album. 2001's Number Ones DVD rehashes the big hits, most in their edited forms.

So despite it being an obvious effort to cash in on posthumous Michael Mania, I was excited to get wind of Vision, a 3-DVD career spanning set of MJ's videos in original, unedited form.

The set chronicles Michael's career as a visual artist from Off the Wall through Invincible. And to have the full-length, unedited versions is a treat, as I hadn't seen many of these since their original MTV premieres. The 18+ minute version of "Bad," for example. Or the 9+ minute cut of "The Way You Make Me Feel." Or the 9+ minute version of "Smooth Criminal."

There is one censored cut, however. While the full 11 minutes of "Black or White" is here (zipper pulling, crotch grabbing, Simpsons' outro and all!), it is not the originally aired version, which included some graffiti-ed racial slurs in the dance segment. I believe that version is still available on Dangerous: The Short Films, however, so chalk one up for cashing in on those with completest tendencies (moi?).

It's also great to see the lesser known cuts, like "Another Part of Me," "Liberian Girl," "Give in to Me" and "They Don't Care About Us." It seems they were really going for a definitive collection here.

So much so that the bonus disc includes 7 videos that don't strictly fall under the banner of Michael Jackson - "Enjoy Yourself," "Blame it on the Boogie" and "Can You Feel It" (all by the post-Motown Jacksons), "Say Say Say" (the so-cheesy-it's-good duet with Sir Paul), Spike Lee's alternate "prison" cut of "They Don't Care About Us," "Why" (with nephews 3T, though none of them are Jermajesty) and the previously unreleased "One More Chance."

It wasn't until this bonus disc that I recalled a few cuts that are in fact absent. If we're talking Jacksons videos, absent here is "Torture" (which is in fact, a pretty torturous cut) and "2300 Jackson Street." If I recall my Pop-Up Video correctly, MJ didn't actually appear in the "Torture" clip, but they borrowed a wax figure from Madame Tusseaud's (!). Wikipedia also claims video clips for "Dreamer," "Goin' Places," "Even Though You're Gone," "Shake Your Body (Down to the Ground)" and "Body," though this is all news to me. My guess is most of these were clips from Bandstand and the like that aired on outlets like The Box.

Oh wow...there is definitely a video for "Body!" (Though again, no MJ.)



Thank god for YouTube. And of course, I had to check all of the others. There is a video for "Dreamer" [embedding disabled by request. BOOOOOO]

"Shake Your Body (Down to the Ground)" -



"Even Though You're Gone" -



"Goin' Places" -



Of course, some of these may actually be pulled from the Jacksons Variety Show.

Despite the absence of some of the Jacksons cuts, the collection is quite comprehensive (though I believe the video for "Gone Too Soon" is different than what I remembered).

It's a good thing that I bought this set over a semester break, because I ended up watching the bulk of it in one sitting. It does suck you in, particularly on the first disc. Sure, there's a dropoff point on disc 2, but if even the lesser videos weren't included, people like me would be quick to point out the omissions.

All told, this is the Michael Jackson video collection we've been waiting for. Given that it only touts 7 cuts, the bonus disc could have been padded with a number of other clips (the aforementioned Jacksons material, "We Are the World," etc.") But I'm splitting hairs here. Vision may be a bit of a rush job, but as the estate floods the market, this is one of the items that most fans actually want.

The sad thing is, I don't think we'll see anything like this from Prince until he dies, but that's another story altogether.

Review: Prince's 20Ten

Another year, another Prince album. Just as we were starting to wonder if the Purple One was going to be releasing anything this year came the announcement of a new disc. As you may be aware, Prince is not releasing the album to iTunes or any other legitimate download service. And to date, there is not an official US release. The talk around the campfire is that former label and long-time foe Warner Bros. will distribute the album in the US, but there has been no official release date announced at this point.

Prince has however begun to release the album in Europe by slipping the disc into a number of print publications. Because the Internet is dead, obviously. Predictably, the album leaked online within hours of discs getting into the hands of fans overseas.

I have to admit, I wasn't all that amped for this album. Usually (to a fault, even), I get pretty psyched for new Prince discs. Maybe there just wasn't enough time between the announcement and release for anticipation to build. Maybe I was just a little nervous about how the new disc would sound. Maybe it was a little bit of both.

Pressing "play," I entered the album with low expectations. Those expectations were met, and perhaps even exceeded - but just barely.

As I've said many times, I don't expect Prince to do anything particularly new or innovative at this point in his career. The well is dry. The most that we can expect is competent and pleasurable albums, a la 2004's Musicology or last year's Lotusflow3r/MPLSound. Occasionally, we'll get a flash of brilliance (2006's "Black Sweat," for example). But the fact of the matter is that Prince is well past his creative peak. I think that's to be expected. For us to expect another groundbreaking album from the man is expecting too much.

So what's the score on 20Ten? It's been hyped as a return to Prince's sparse, synth-driven funk of the 1999 era. However, you can't just fire up the Linn LM-1 and call it "classic Prince." If this self-referential retro style is what Prince was going for here, he achieved it more effectively with MPLSound.

Some tracks do pull it off, however. The start-stop progression of "Sticky Like Glue" may be the most successful example. It actually reminds me of a specific Prince song, though I'm having trouble placing it. "Wonderful Ass," perhaps (though it is nowhere near as funky nor interesting as "Wonderful Ass"). Prince's faux-rap bridge is a little cringe-worthy though. "Lavaux" is another that somewhat successfully appropriates the aesthetic qualities of Prince's most successful 1980s material. It pales in comparison of course, largely due to the fact that the lyrics leave much to be desired.

Another track that's been getting some attention is "Future Soul Song." If the totally uncreative title didn't give it away, this is Prince in his baby-makin' mode, and it has rarely sounded more contrived. The chorus just seems forced: "This is a future soul song." It also reminds me of Planet Earth's "Future Baby Mama," which I'm not a fan of at all. The album's other ballads, "Walking in the Sand" and "Sea of Everything" are equally uninspired. Maybe part of the problem is that this is such well trodden territory for Prince. Some of the greatest R&B ballads of all time came from his pen - "Purple Rain," "The Beautiful Ones," "Nothing Compares 2 U," "Adore," "When 2 R In Love," "Do Me Baby," et. al. Perhaps he's exhausted the idiom, and the best that he can do are these sound-alikes that never quite get us to where we want to go (the bedroom?).

The album's official closer, "Everybody Loves Me" sounds like a joke. Maybe it is. It's so incredibly juvenile that I would give it a pass were it written for Happy Feet 2. It's jumpy pop groove is also not a far cry from 2009's "No More Candy for U," which closed out MPLSound.

Notice that I referred to "Everybody Loves Me" as the album's official closer. There is a hidden track (#77). I'm reminded of 1998's New Power Soul. Like that album, Prince has once again buried the disc's most interesting piece. "Laydown" is a dark, mid-tempo groove laden with synth flourishes and a female vocal brings to mind the sample in Jay-Z's "Lucifer." Despite the facepalm inducing lyric in which Prince refers to himself as "the Purple Yoda," it's a solid groove that has Prince putting his spin on contemporary sounds (it sounds very much in the vein of a number of club/hip hop tracks from recent years). This would probably be the cut that I would cherry pick from 20Ten.

In sum, the album isn't doing anything that Prince (or others) haven't already done. The bulk of the songs are good enough, but after a handful of listens, nothing on the disc is particularly compelling lyrically, musically or emotionally. One of the reasons it took me so long to write my review is that after giving it a spin on Saturday, I wasn't compelled to give it another listen. Not because it's bad, but because it's chock full of mediocrity. This is only underscored by the fact that 2010 is the best year for music in recent history. I was much more interested in repeatedly listening to new offerings from The Roots and M.I.A. than Jamie Starr.

For much of his career, Prince was releasing an album a year. The exceptions are 1983 (whilst Prince was occupied with the Purple Rain album and film), 1997, 2005 and 2008. Indeed, some years saw multiple releases. I can't help but wonder if Prince continues this annual release schedule to maintain his status as a prolific artist. I think Prince would do well to cut back to say biannual releases in the hopes that this would lead to higher quality product. With a lot of Prince's work in the last decade (and even a bit beyond that) I sometimes think that you can cull one great album from two that he released. I stand by my claim that last year's double disc would have made one great album. Same goes for 2004's Musicology and 2006's 3121 (though I enjoy both). Planet Earth remains a lost cause.

But the fact of the matter is that I don't direct Prince's business decisions, nor those guiding his career. I'll continue to buy his product, and catch him live when I have the chance. In the end, 20Ten is not a bad album, just one that as a unit, is thoroughly underwhelming.

On a standard grading scale, I'd give it a light C that teeters on the brink of a C-.

The Raveonettes @ 9:30 Club, DC (10/16)

(Photo by Chris Chen)


I've wanted to see The Raveonettes live since I first heard them back in 2004 or 2005. I was perusing music at the Iowa City Public Library when I came across Chain Gang of Love. The name caught my eye. I tend to like groups with "-ettes" affixed to their name: The Marvalettes, the Raylettes, The Ronettes, et. al. I think I may also have heard them on Little Steven's Underground Garage. I loved the album immediately, ended up finding a copy at a record swap not long after, then proceeded to pick up their earlier EP and subsequent releases. But I never got to see them live, because fate wouldn't have it. So when I caught wind that they were performing DC on a Friday night, I quickly made moves.

Openers were the Black Angels, from Austin. Not bad. A little excessive on the reverb, and there wasn't a whole lot of variety in their set. But still enjoyable.

The Raveonettes put on a show that was well worth waiting four years to see. The energy of their music - alternating between '60s pop buoyancy and the darker edges of rock - translates very well into a live setting. They ran through material from 2002's Whip it On up through their newest release, In and Out of Control. They included many of my favorites - "Dead Sound," "Little Animal," "That Great Love Sound," "Aly Walk With Me" (a personal highlight), "Love in a Trashcan" and others that I can't remember at the moment. And of course, they played about half of the new record. I'd only heard it once on their live stream, but it is now in heavy rotation after the show.

Speaking of which, the band has a deal going where anyone that buys the new album at the show gets to attend a brief meet and greet after the show. I was planning on buying the new disc anyway, so this was an added bonus (though sometime between Friday and Sunday, I lost the slip containing the download information). Maybe 20 or so people were at the meet & greet. I never know what to say to my favorite bands when I get the rare chance. I just complimented them on a great show and talked to them about the tour. And got their John Hancocks. I always feel weird asking for autographs too, but when they come pen in hand, it's not so awkward.

In short, the Raveonettes live show gets the Gonzo seal of approval! Check them out if they're hitting your town. And also check out their new album. At least for the time being, you can stream it through their official widget below!

Rave on!

Review: Bruce Springsteen and the E Street Band - Mellon Arena Pittsburgh, PA, 5/19

When Bruce Springsteen and the E Street Band announced a reunion tour in 2000, I knew I had to go. My sister and I were treated to an amazing show with a solid setlist. I've seen Springsteen only once in the interim, on the Seeger Sessions tour, which was a totally different, yet equally amazing show. I stupidly passed on an opportunity to see the Devils and Dust tour with friends of mine in Minneapolis, and I could never make it to any of the Magic shows. So I was interested in seeing Bruce and the band again, but didn't view it as a necessity until 90 seconds or so into their halftime show at this year's Super Bowl (which as a Pittsburgher, it is my duty to remind you that the Steelers won).

I'll be honest, my interest in big arena/stadium shows has waned drastically over the last five years or so. But shit, it's Bruce Springsteen! And tickets were relatively affordable ($50!).

I know in my heart that rock and roll never starts on time, but I felt it necessary at 7:25 that my sister and I quickly drink our third and final round of Long Islands. And of course, the 7:30 set time meant 8:25. But type-A music fans like me can't take the risk of missing any stage time.

I've been glancing at the setlists on the always informative Backstreets and keeping up with "Outlaw" Pete Icke's Springsteen Tour Tracker to keep up with song debuts.

Leading up to the concert, my sister asked me to make her a Bruce mix (I don't know why, every time I've been in her car for the last 6 months she's listening to E Street Radio). I approached the mix as no hits, though fan favorites were fair game. Anyhow, in compiling it, I was struck that you'd be hard pressed to put together a "bad" Springsteen setlist. That was definitely borne out at tonight's show in Pittsburgh.

While Max Weinberg's son Jason has been playing portions of the set on most dates, such wasn't the case tonight, I'm happy to report. With no disrespect to the young Weinberg, the E Street Band is one of those groups where each member truly has their own unique personality that shines through onstage. Also, I'm a drummer at heart, and it's Mighty Max Weinberg. Patti Scialfa was absent, however.

"Badlands" was an unexpected opener for me, but what a way to kick it off. Pulling out the big guns straight out of the gate! We were then treated to "Candy's Room," which was even more leftfield, but a great old nugget from Darkness on the Edge of Town - the title track of which he also played. I expected "Johnny 99," but it's one of my favorites, and we got a rousing full band rendition. After a cover of The Young Rascals' "Good Lovin'" (which Little Steven would surely call "one of the coolest songs ever recorded" on his radio show ), Bruce collected signs from the audience. After proclaiming "WE'VE NEVER PLAYED THIS NEXT SONG BEFORE!" the band launched into Dylan's "Like a Rolling Stone." A very honest rendition, I might add. Other highlights included "The Promised Land," "I'm on Fire," and the always crowd-pleasing "Born to Run."

Kicking off with Pittsburgh native Stephen Foster's "Hard Times," the encore never let up, with "Thunder Road," "Land of Hopes and Dreams" and "American Land" rounding out the set before bringing Joe Grusheky (another Pittsburgh native) on stage for an energetic "Glory Days." After an extended run through of "Mony Mony," I held out hope for a second encore. Alas, the houselights went up quickly. Still, a great show and I'm certainly not disappointed.


Setlist:

1. Badlands
2. Candy's Room
3. Outlaw Pete
4. Jackson Cage
5. She's The One
6. Working On A Dream
7. Seeds
8. Johnny 99
9. Youngstown
10. Good Lovin'
11. Like A Rolling Stone (audience pick)
12. Darkness On The Edge Of Town (audience pick)
13. Waitin' On A Sunny Day
14. The Promised Land
15. I'm On Fire
16. Kingdom Of Days
17. Lonesome Day
18. The Rising
19. Born To Run

**Encore**
20. Hard Times
21. Thunder Road
22. Land Of Hope And Dreams
23. American Land
24. Glory Days (w/Grushecky)
25. Mony Mony

Next up on the concert calendar: Santigold!

ICK

Friends - head on over to Ick Music to check out my review of the New York Dolls' new disc 'Cause I Sez So, which streets today.

In addition to all of the other goodies Pete, Michael and all of the other Ickies have for you, you should definitely check out Pete's Springsteen Tour Debut Tracker, to see what surprises the Boss is dusting off at each show as they happen - including links to listen to some of the selections from the "Stump the E Street Band" portion of th shows, which recently have turned up "96 Tears," "I Wanna Be Sedated" and "London Calling!!!!!" Only 2 weeks until the Pittsburgh show!

Review: Prince - Lotusflow3r/MPLSound/Elixer

This is a little long. I tried to keep it short and sweet, but brevity is not my strong point and hell, there's a lot of music here.

After months of classic Prince hype, his new 3-disc set dropped at Target on Sunday. The albums have been available for download in the members section of his new website. Given his history with failed websites however, I remain unconvinced that it is worth $77, at least until there are tour dates. So like a good fanboy, I avoided the leaks and reviews, and hit up Target just as soon as I finished my pancakes Sunday morning.

First up in the set is Prince's new protege Bria Valente, and her album Elixer.



In the interest of time, I'll just say that Exlixer is better than I'd expected, mostly because my expectations were pretty low. Even as a Prince related project, I doubt it's something I would have bothered to pick up were it released separately. And let's be honest, that is true of most of the folks who pick up this package, I'm sure.

Now onto the main act.

I'm struggling with whether to treat Lotusflow3r and MPLSound as two distinct records or complementary parts of a whole. Neither is exactly what I would call a concept album, though they do have their own vibes. I'll comment on each individually, but also have some broader comments that apply to both.

Thankfully, Prince's latest offerings are better than 2007's trainwreck, Planet Earth. Yet neither of the new discs really shows Prince breaking any new artistic ground. And that's to be expected. I gave up on the idea of Prince putting out anything earth shattering basically around the time that I became a "serious" fan (1996-7). However, I haven't given up on the idea of Prince being able to put out well crafted and enjoyable records (see Musicology and 3121).

Listening to these two discs, I'm struck that these days, Prince is at his best when he's hearkening his classic material. That might mean breaking out the Linn LM-1 drum machine, slipping into his Camille voice, or simply getting a little naughty.
And I'm okay with that, to be honest, because he does it well. I can accept that most of my musical heroes that are still around have well surpassed their artistic peaks. Meet the new Prince, same as the old Prince.

Part of the reason that I think it works for Prince however, is that (pop) culturally, we're nostalgic for the 1980s. Having been such a pivotal figure of that decade (and of popular music more generally), Prince has been pretty strategic in playing into this - the Super Bowl, the Vegas shows, the Musicology tour, etc. I applaud him for it. Though he still can't get the Internet right and is ridiculously possessive of his intellectual property, he is otherwise aging gracefully, cementing his legacy in American popular music and culture. All of this is a roundabout way of saying that the songs that I love on both of these albums tend to tie themselves to classic Prince.

But let's get to the nitty gritty.



Sandwiched between two instrumentals that recall 2003's N.E.W.S. ("From the Lotus..." and "...Back to the Lotus"), the bulk of Lotusflow3r is guitar-laden, an aspect of Prince's abilities that hasn't been the focus of an album since 1996's Chaos and Disorder, which was more chaos and disaster. Lotusflow3r is a more successful attempt, I'm pleased to report.

A general complaint I have is the overuse of processed vocal effects. On some tracks (namely "Colonized Mind") it works, but on most it just seems unnecessary and distracting("Boom," "Crimson and Clover"). Some of the tracks are simply uninteresting ("4Ever" and "Feel Good, Feel Better, Feel Wonderful," which sounds an awful lot like Rave Un2 the Joy Fantastic's "Prettyman"). Others are range from good to just OK ("$," "Love Like Jazz," "Wall of Berlin").

Prince has always been into pulling out covers in his live shows. In recent years however, he's moved away from just doing classic funk and R&B tracks into other territory - The Beatles, Fleetwood Mac, the B-52's, (and sadly) Jimmie Eat World. Lotusflow3r's take on Tommy James' "Crimson and Clover" fits well into this trend, also incorporating bits of Hendrix's cover of "Wild Thing" from the Monterrey Pop Festival. It's a fine cover, though I'm not sure it adds anything new to the song, aside from Prince's guitar work.

"Boom" is one of the more enjoyable tracks, with Prince alternating between a dreamy, laid-back verse and a choppy rock chorus. To be honest, it sounds like it was lifted from one of Lenny Kravitz's early albums. Of course, Prince was an influence on Lenny Kravitz. Chicken? Egg?

The two real standouts on Lotusflow3r are "Colonized Mind" and "Dreamer." Matt, a friend and loyal blog reader, noted that "Colonized Mind" recalls "The War," "which is a good thing." I agree. "Colonized Mind" can be viewed as a significantly more focused revision of "The War." Yet here, Prince isn't ranting about post-apocalyptic life, but offers a more directly political, coherent statement on race and ethnocentrism (from what I can gather, anyhow). Dark and lyrically rich, "Colonized Mind" has Prince preaching without being preachy, and showcasing his blues-rock mode of guitar playing.

When I saw Prince perform "Dreamer" on Leno last week (with Michael Bland and Sonny T backing him, no less), it was one of those jaw dropping Prince on TV moments. Similar to when Prince stole the show during the all star jam at the Hall of Fame ceremony in 2003, or that blazing performance of "Fury" on SNL in 2006. My concern was that, like the latter example, the studio version would sound thin and flat compared to the live version. Thankfully, Prince pulled it off, and "Dreamer" rocks pretty hard on disc as well. It's Prince in his most intense rock guitar mode. Aces!

HIGHLIGHTS: "Colonized Mind," "Dreamer"



The focus here on MPLSound is funk and dance numbers, though there are handful of un-noteworthy ballads as well ("U're Gonna See Me," "Here," "Better With Time"). Nay, the uptempo joints are where MPLSound shines.

"(There'll Never B) Another Like Me" is again marred with overused vocal effects, though it's a catchy dance number reminiscent of songs from the unreleased High album, and in fact has a rhythmic base very similar to that project's title track.

For all of his JW preaching, Prince still throws out the occasional innuendo, such as the hook of "Chocolate Box" - "I got a box o' chocolates that'll rock the socks off any girl that wanna come my way." Like a few other tracks on this disc ("Dance 4 Me," "Valentina"), it has a minor key synth bass groove that sounds club ready, though "Chocolate Box" boasts a much more infectuous hook. And Q-Tip! Prince's forays into hip hop historically produce questionable results (see Tony M.). Even when a stellar MC like Chuck D. comes to play ("Undisputed" from 1999's Rave Un2 the Joy Fantastic), it often sounds forced. Q-Tip was a perfect choice for guesting on this particular song, and I'm reminded that this isn't even the first time they've worked together (Tip guested on a remix of "The Greatest Romance Ever Sold" in 1999).

"Dance 4 Me" brings back the Camille voice, a much more palatable vocal effect that became a Prince trope in the late 1980s (though also featured on "Erotic City.") Although in recent years it sometimes seems that Prince utilizes this effect for the hell of it, it works on "Dance 4 Me." In fact, "Dance 4 Me" wouldn't sound all that out of place on the original, aborted Camille album, alongside "Housequake" and "Rockhard in a Funky Place."

Like Lotusflow3r, my big pick for MPLSound is a track we saw on Leno last week.
"Ol' Skool Company" is a 7.5 minute mid tempo funk piece that can be read as an extension of "Musicology" in that it expresses a yearning for old school funk. It sounds like a more rounded out version of Prince's recontextualization of "When Will We Be Paid?" by the Staples Singers, and also resurrects that song's critique of the music industry, albeit in less oppressive terms. The song also includes a "holy shit" moment for me, when Prince hits on a number of my soft spots:

"Radio used to be local, untouched by the man
Songs we used to sing used to mean something
Now they just bland, Like the drummer
Where's the real drummer? Where's the real drummer?
Michael B., Mint Condition, Morris Day, Jellybean wishin', Sheila E., brother John, and sometimes me, until the dawn
If the White House is black, we gotta take the radio back
Power to the people, power to the people"

Solid!

HIGHLIGHTS: "Chocolate Box," "Dance 4 Me," "Ol' Skool Company"

The Verdict:
Overall, I'm pleased. It's not breaking much new ground, it isn't terribly innovative, but Prince successfully references his peak material while with some success, updating it for the present day. I admit that I was very concerned after Planet Earth that Prince was just done. These albums show otherwise, despite the fact that they really aren't anything Prince hasn't done before. And while I generally don't buy into the arguments surrounding The White Album, Exile on Main Street etc. that they should have been one disc, my hunch is that one could make an incredibly solid disc from Lotusflow3r and MPLSound. Which I will probably do shortly.

Show Review: Cut Copy - 3/23, 9:30 Club, DC

I don't think I've been to a show since I saw CSS in December. That seems slightly odd, given my modest streak since moving to Baltimore (averaging a show a month, but coming from Iowa, that's A LOT!).

To be completely honest, it wasn't until Friday or Saturday that I remembered the Cut Copy show was coming up on Monday. It seems like forever ago that I bought the ticket.

In classic style, I strolled into the 9:30 Club just in time to see the openening band, Matt & Kim.



They must play in the area frequently, because I feel like I've seen their names advertised quite a bit. I wasn't totally sold on them, but I'll give their album a spin. I was totally sold on their enthusiasm and energy, however. They seemed genuinely happy as shit to be playing, which is always a welcome stage attitude in my book. And yes, I have a crush on Kim. I've always had a thing for female drummers, what can I say? Serious sidenote though, they got a really great drum sound out of that kit. The sound at the 9:30 Club is generally pretty great to begin with, but something about the drums and the way the were miked/mixed sounded fantastic. There was also a moment of serendipity when they played the intro to "The Final Countdown," which I'd heard on the radio on the way down. I also had an amusing/odd dream about Buster Bluth the other night. Why is Arrested Development haunting me? What is the universe trying to say?!?!

30 minutes and one cocktail later, Cut Copy took the stage.



I can't say that I have any real sense of history with this band, and my guess is that the same is true of the majority of folks in the sold out crowd. I really only know In Ghost Colours, which was one of my favorites from 2008.

Through the first two songs, I was a little bit worried. They sounded great, but little seemed to be happening live aside from the drums and vocals. This quickly changed however, as a bass and six string were brought out and remained for the bulk of the set. They tore through pretty much all of In Ghost Colours, which pleased me. They also had an insane light rig. Listen to their record. Imagine what the lighting might be like set to that music. Your mental image is probably accurate. It was intense and very colorful, if blinding at times. Predictably, they closed with "Lights and Music," which I thought they might be sick of by now. But I was glad to hear it.

At some point they also played "Hearts on Fire." You know how sometimes you like a song, but you hear it live and it kicks your appreciation up a few notches? That's the case here. There is a video for the song, but embedding is disabled and to be honest, I think it's kind of a hokey clip. But it's a great song:

Hearts On Fire - Cut Copy

All in all, I enjoyed it quite a bit. I won't say that I was blown away by the show, but I'm glad that I went, it was well worth the ticket price. Happy to have them be my first concert of 2009. Next up is Springsteen in May, unless something comes up in the interim.

CSS: 9:30 Club - Washington, DC 12/20/08

I know, I've been conspicuously absent. Holidays, the flu and travels got in the way. But I have a few posts in mind for the next week or so. But first, the long delayed review of the CSS show from last month.

We opted to skip the opener in favor of a few cocktails with a friend of mine from grad school. We got to the 9:30 Club just in time. Perhaps predicatably, CSS took the stage with an in-your-face rendition of "Jaeger Yoga," the opener of their most recent LP Donkey (one of my absolute favorites from 2008!). From there, the band embarked on inciting a non-stop dance party with their pop-oriented electro sensibilities. I admit not being at all familiar with their previous, self-titled album (though of course now, I need to check it out). Even so, the band made it through the bulk of the Donkey LP. I was a little surprised that they pulled out "Move" and "Left Behind," the album's two singles so early in the set. I would have pegged either of them (but especially "Left Behind") as closers. Instead, the band's encore was a rousing performance of "Reggae All Night," which was actually a perfect closer anyhow.

I have to say I was very pleased with their performance. While I love the album, live the songs sound much fuller, and have more punch. Not to mention the stage personality of the band. In addition to a solid performance, the sound was stellar. I also didn't realize that this was the last show of the tour (at least the US leg), so that made it a little special and added to the energy of the show.

All in all, CSS is well worth seeing live - tight, well executed, energetic, and super fun. That's right, I said "super fun." Check 'em out if you ever get the chance.

CSS on MySpace

2008 Mix

Dearest friends and loyal readers - December is rapidly dwindling away, and 2008 along with it. For the third year running, I've compiled my "year's best" cd (feel free to check out the 2006 and 2007 versions if you haven't before, or feel like strolling down memory lane).

It's been a pretty solid year, I have to say. As I mentioned to a few other folks, this year's edition is perhaps less varied than previous years, but that also makes it a bit more consistent as a mix. As always, there were some very difficult cuts - be sure to check out the honorable mentions as well. And it goes without saying that I'm very interested in what's topping your year-end lists, dear readers.

Ok, on with the show -

It’s Been Great: The Music of 2008


1. The Raconteurs - "Consoler of the Lonely" Consolers of the Lonely (Warner Bros.)

The Raconteurs album, along with the Gnarls Barkley disc were the first purchases I made in 2008, and I was very much looking forward to both of them. While the GB disc was an utter disappointment (see below), Consolers of the Lonely is a great sophomore effort from "Jack White's other band." As with their 2006 debut Broken Boy Soldiers, Consolers is a great, straightforward rock record. Unlike its predecessor however, this album shows a bit more breadth. The arrangements and compositions are a little more interesting, and a wider array of instruments round out the band's sound more fully (brass, organ, fiddles!). Two years ago, I took the Raconteurs to be a one-off side project, but Consolers shows that Benson, White, et. al. can regroup and evolve as a unit. I wish that I could say the same for Gnarls Barkley, but alas. I will say that the album could stand some edits. Some songs, particularly "You Don't Understand Me," "Many Shades of Black" and "Rich Kid Blues" seem to drag on and are actually disruptive to the album's flow. I really wanted to include "Carolina Drama," my absolute favorite track on the album, but it didn't jibe with the rest of the mix. But that's okay - this is an excellent opener, and I love the tempo changes.

Official Website
On MySpace

2. Derek White and the Monophobics - "The Wunderful Lulliloo" Derek White and the Monophobics (self-released)

Sometimes you need to rely on the Internet to show you things in your own backyard. In 2007 (maybe even 2006?)I received a MySpace request from Derek White. Always curious about new artists, I checked it out and immediately loved "Mean Tambourine." When I realized he was from Pittsburgh, my respect jumped significantly. Over the course of a year or so, I listened to the various tunes posted on his MySpace page, which soon became "Derek White and the Monophobics," rather than simply "Derek White." Track after track I dug what I heard, so when the album was ready for release, I jumped on it. First, I applaud the band for their distribution strategy: though the hard copies of the album weren't ready, interested parties could pay $10 for a digital copy (with bonus tracks) and receive a hard copy in the mail when ready. I'm a big fan of hybridizing digital and hard copy distribution rather than having them be oppositional forces. Anyhow, the album came, and it's great. In reviewing the disc for this mix, I was actually a little taken aback at how consistently pleasing the album is. These guys wear their influences on their sleeve, most clearly Brian Wilson. And that's okay. This isn't simply an homage to the Beach Boys. It's a well produced, well constructed album of pop rock. I struggled a bit with which track to include. I wanted to pluck "Surfing the Allegheny" or "You've Got a Friend in Pennsylvania" for my Pittsburgh peeps, but decided to set my regional favoritism aside. My favorite track is probably still the glam-infused "Mean Tambourine," but again, I had to consider the flow of the mix. I'm happy to include "The Wunderful Lullilo" at any rate, for it shows the band's playfulness as well as musical and production skills. I give this album three out of three rivers.

On MySpace

3. She & Him - "Why Do You Let Me Stay Here?" Volume One (Merge)

Who knew Zooey Deschanel had such a lovely voice? Interestingly, this received less hype than the Scarlett Johannsen record, which was a rather uninteresting venture. Although it's difficult for me to not think of her as the sister in Almost Famous (or Trillian, for that matter), Volume One pairs Ms. Deschanel with M. Ward for a surprisingly enjoyable alt-country-tinged album. The disc includes two great covers of The Miracles' "You Really Got a Hold on Me" and The Beatles' "I Should Have Known Better," but I have a "no covers" rule for year-end mixes. Though I suppose one could make the argument that this track is a bit of a "Dear Prudence" pastiche.

Official Website
On MySpace

4. Lightspeed Champion - "Midnight Surprise" Falling Off the Lavender Bridge (Domino)

I believe that this was the first album that I heard in 2008. Lightspeed Champion is the new moniker former member of the Test-Icicles. I've never heard the Test-Icicles and know nothing about them. What I do know is that Falling Off the Lavender Bridge is a great, low key folk-pop album. The whole disc is great, but this is definitely the standout track. I debated its inclusion given the length, but I was able to make it work and I'm pleased that it made the cut.

Official Website
On MySpace

5. Brazilian Girls - "Good Time" New York City (Verve)

I don't think I'd heard of the Brazilian Girls (who are not Brazilian and only one third female) until this year. Coincidentally it was their 2006 album Talk to La Bomb that I stumbled across, and loved. New York City isn't quite as good of an album, but is still an interesting blend of rock, dance, and occasional hints of jazz and bossa nova. "Good Time" is a basic ode to fun and the simple pleasures of life. I do in fact, just want to have a good time.

Official Website
On MySpace

6. Love is All - "Wishing Well" A Hundred Things Keep Me Up at Night (What's Your Rupture?)

Here's one that I found randomly, I believe via Pitchfork, and I believe it was actually the video for this song. They hail from Sweden, if you're trying to place the accent. I guess this is best described simply as "indie dance rock," but it also has sort of a punk edge. But at the same time it's really catchy and poppy. I don't know. Perhaps I'm just pointing to the futility of generic categorization here.

Official Website
On MySpace

7. Santogold - "You'll Find a Way" Santogold (Downtown)

I think I have to say that Santogold is my pick for album of the year. I "previewed" the album the week of its release, then promptly ran out and bought a legit copy the next day. I was taken aback with the variety of styles on the album. While the overriding genres represented here are pop/rock/dance oriented, there is an ever looming new wave influence throughout the disc, with occasional flourishes of hip hop and reggae. Immediately upon release, Santogold was being labeled as an MIA clone, which Santogold brushed off admirably. Really, it's a pretty unfair comparison. Though both meld a variety of styles, MIA is much more of a rapper (of sorts) while Santogold is much more focused on melody. Really, there is little on the Santogold record that sounds like MIA, though they have collaborated on a track or two. As I discussed with a friend recently, the comparison seems to exist purely because both are females of color. At any rate, this was probably the album I listened to most in 2008. It's a great album for running ("Unstoppable" became a theme song during my marathon training), for highway driving and I imagine (though I haven't had the pleasure) for dancing. The only track I'm not that fond of is "Anne," and even that might just be because of the opening line ("My name is Anne, I've got a plan"). Sure, "You'll find a Way" and "Lights Out" have already been used in commercials (Nokia and Bud Light Lime, respectively), but I can overlook that. Seriously, Santogold wins my top spot of 2008.

On MySpace

8. The Ting Tings - "Shut Up and Let Me Go" We Started Nothing (Columbia/Red Ink)

I believe I first heard the Ting Tings On Demand while at my parents' house over the summer. If I recall, it was the video for "That's Not My Name." I enjoyed the song's poppiness and snark, but sort of forgot about the band until I saw the video for "Shut Up and Let Me Go." The song hooked me with it's unmistakable new wave/Blondie influence (is 2008 the return of new wave as 2007 was the return of electro?). The entire album is a fun, danceable listen, and probably gets my 2008 award for sensible brevity, being under 40 minutes.

Official Website
On MySpace

9. Mr. Oizo - "Cut Dick" Lambs Anger (Ed Banger)

Well here's something interesting. Way back in 2000, I was pretty into Mr. Oizo's Analog Worms Attack. I still give it a spin on occasion, but would hardly say I was a "follower" of his music (clearly - he apparently released an album 2005 that never crossed my radar). When I stumbled across word that Oizo was putting out a new disc this year, I was curious. For the most part, Lambs Anger is very different from Analog Worms Attack in that the music is more straightforward and accessible. I'd even go so far as to say it's significantly funkier, whereas Worms was slightly more abstract, into manipulating tempos, etc. Lambs Anger on the other hand, is a consistently danceable electro extravaganza that also has a sense of humor about itself.

On MySpace

10. Alan Wilkis - "It's Been Great" Babies Dream Big (Wilcassettes)

This is the third consecutive year that I've compiled a year-end mix, and for the third straight year, I have to give props to IckMusic for turning me on to an artist. Michael made a quick post about Alan Wilkis' debut. This was the track he shared, and I'm happy to share it with you in turn. The album itself is overall enjoyable, but at times feels a bit strained, as though Wilkis is trying too hard, as in "In My Dreams." But when he's on, he's on.

On MySpace

11. Pop Levi - "Never Never Love" Never Never Love (Counter)

Late winter, some blog or another directed me toward Pop Levi, whom they claimed was a cross between Bowie and Prince. "Yeah yeah," thought I - I've heard this comparison made more frequently than I care to. And it's never been accurate. But lo and behold, it kind of is accurate here, though Pop Levi is exhibits both influences simultaneously. On Never Never Love, Pop Levi works in essentially two categories - Camille-style Prince pop (perhaps most overtly on "Mai's Space" and "Dita Dimone") and Hunky Dory-era folk pop (i.e. "Semi-Babe," "You Don't Gotta Run"). The Bowie/Prince comparison isn't 100% accurate, but both of those influences are audible. Likewise, "Wannamama" is a meld of T-Rex and Gary Glitter-style glam rave up. The title track was my first exposure to the album, via the equally quirky video, and remains one of my favorites.

On MySpace

12. Ratatat - "Mirando" LP3 (XL Recordings)

Ratatat is billed as an electronic outfit, but I'm not sure that label sticks. Sure, they use a lot of "electronics," but much of this album is not what that label typically refers to. It's not exactly dance music. If I hadn't looked it up, I never would have assumed it was a two-piece (synth and guitar). It comes off as somewhat experimental, but also accessible. There are elements of dance, rock and funk instrumentation, as well as electronic and hip hop production. The bottom line is that it's an interesting album, and one that provides a perfect backdrop for grading/writing/editing, etc.

Official Website
On MySpace



13. Snoop Dogg - "Sensual Seduction" [single; album version available on Ego Trippin'] (Geffen)

Here's a selection where I took a bit of liberty. The single and video were issued very late in 2007. But the album came out in 2008, and really gained its popularity in the early portion of this year. So I think it's still legal to include this on my year-end mix. I was still at home for the semester break last winter when a friend sent me link to the video, which he demanded that I watch immediately. I did, and was blown away on a number of levels. Obviously, the visual homages to Prince's "When Doves Cry" video and Parliament's Mothership Connection album cover warmed my heart. But also, it's a great song. Also, this is probably the first time that I choose a censored radio edit over the album version. One of the things that I love about this version is its slyness. On the other hand, the album version - "Sexual Eruption" - leaves little to the imagination. I find Snoop Dogg such a fascinating pop cultural figure. Really, in 1992 would you have placed your bets on him to maintain - even exponentially increase - his popularity over the following decade+? His music isn't exactly consistently pleasing, but I generally like about half of his albums, and every few years he drops a song that kind of blows me away. This song made me wish that Snoop did an album of straight up r&b material, but alas, that was not quite the theme on Ego Trippin'. However, it is a decent album, and includes a well executed cover of The Time's "Cool."

Official Site

14. Erykah Badu - "Honey" New Amerykah, Pt. 1: 4th World War (Motown)

Erykah Badu is perhaps the greatest female r&b artist of the last decade. With all due respect to Beyonce, Alicia Keys, et. al., Erykah Badu has yet to disappoint me. More importantly, her music and lyrics hit you in that inexplicable way that the best soul music does. New Amerykah definitely incorporates more of a hip hop element than its predecessors, but in a manner that complements rather than overpowers Badu's penchant for crafting soul gems. The album comes with a flyer announcing New Amerykah Part Two in summer 2008, which didn't happen. Who knows if this album's title actually alludes to a series of related releases. (I'm reminded of David Bowie's 1. Outside, for which we never saw parts 2. or 3.) Regardless, "Honey" was the album's lead single, an interesting choice given that it's technically a hidden track. And the excellent video is the kind of thing that music geeks should enjoy.

Official Site
On MySpace

15. Jamie Lidell - "A Little Bit of Feel Good" Jim (Warp)

An early contender for album of the year. Whereas Lidell's previous album Multiply combined electronic production with songs reminiscent of 1960s soul, on Jim, Jamie Lidell brings an all out, unabashed soul revival. One the one hand, this makes it a less diverse album than Multiply, but on the other hand, it makes Jim a more consistent venture. Song for song, the disc is a solid one. I was initially not very into the ballads "All I Wanna Do" and "Rope of Sand," but they've grown on me a bit and I think are necessary to round out the album. Deciding between this song and "Another Day" was rather difficult, but I had to go with "A Little Bit of Feel Good." It's a bit more interesting in its arrangement and composition, and certainly funkier. I had the fortune of seeing Jamie Lidell in Chicago this summer, and he put on one hell of a show. Check him out if you get the chance. Also check the wonderfully absurd video.

Official Site
On MySpace

16. CSS (Cansei de Ser Sexi) - "Left Behind" Donkey (Sub Pop)

This was another contender for my album of the year. I first came across this in the last leg of training leading up to the marathon, and it accompanied me on many of those final runs. Unlike the Brazilian Girls, CSS are legitimately Brazilian. The album is a solid dance/pop record, perhaps my favorite of the year and next to Santogold, likely what I listened to most frequently. the video for this song is at once awesome and kind of creepy. The other potential inclusion from this record was "Move," which also has a pretty awesome video (I love how dude is wearing a Michael Jackson Dangerous t-shirt). I'll be catching CSS in DC on 12/20, with the expectation that they will rock my socks off.

Official Site
On MySpace

17. Crystal Castles (vs. HEALTH) - "Crimewave" Crystal Castles (Last Gang)

"Crimewave" is truly one of my favorite singles of the year. The song was originally released as a 7" in 2007, though I have yet to hear that mix (I did however, find this pretty nifty UK tv performance). I know nothing of HEALTH aside from the fact that they produced this mix of "Crimewave," to which I raise my glass. "Crimewave" is pretty indicative of the album as a whole, although it does contain some harder tracks as well ("Alice Practice," "XXZXCUZX Me," "Love and Caring"). I got really into this album after listening to it on a run in New Orleans in October. It seems much of my music this year revolves around running (or vice versa). I'm pretty okay with that.

On MySpace

18. Portishead - "Machine Gun" Third (Mercury)

In the fall of 2002 (my senior year of college), I took a class called 'Media and Music.' It was incredible on a number of levels that I won't get into here. Part of the course requirements was participation in an online discussion board. At some point over the semester, somebody made a passing comment on the board that "I hear Portishead is working on a new album..." Even then, I think a number of us took the "yeah, right" stance. By 2002, it seemed Portishead was a done deal. They hadn't released any new material since 1997, and that whole "trip-hop" thing seemed to have faded. Fast forward to 2008, when I started getting MySpace messages about Portishead playing random shows and working in the studio. I'd kind of given up on them ever doing anything by that point, but lo and behold, here it is - the third Portishead studio album, 11 years after it's predecessor. I approached the album with excitement and hesitation. Excitement because Portishead's previous two studio albums were both incredible. Hesitant, because well, it had been 11 years. Upon first listen, I was relieved that, as a friend of mine also noted, Portishead didn't try to make an album in 2008 that sounded 1998 (hello, Axl Rose). Now, I'm not about to say that Third is on the same level as their self titled album and Dummy, though it is pretty good. It has a couple of amazing tracks, the toppermost of which are "We Carry On" and this, the lead single. I wanted to include "We Carry On," but it's 6:30 runtime threw off the rest of the mix. Ergo, we settle for "Machine Gun," which is still kind of incredible.

Official Site
On MySpace

19. Ladytron - "Ghosts" Velocifero (Nettwerk)

I was a huge fan of Ladytron's 604 when it came out in 2001, and the album will forever conjure memories of WPTS. 2002's Light & Magic was so-so, and I didn't care much at all for 2005's Witching Hour. To be honest, I was initially pretty lukewarm to Velocifero. Then one morning whilst getting ready to head to the archives, I somehow or another ended up on Ladytron's MySpace page and heard this song as I brushed my teeth. It hit me in a way that it failed to previously, and made me go back to the whole album, which has since become one of my favorites of 2008. I think my initial displeasure was that what I loved so much about 604 was the Gary Numan/Kraftwerk electro element. This album departs from that (as did Witching Hour, which makes me think I need to spin that one again too), though certainly aspects of it persist. It just isn't straightforward dance music, and is a bit more introspective lyrically. This song typifies that. I have a thing for songs that convey emotional complexity. Also a simple, yet fitting video.

Official Site
On MySpace

20. Cut Copy - "Lights and Music" In Ghost Colours (Modular Interscope)

Well, you know I had to send you off dancing. The Cut Copy record has a strange knack for being simultaneously retro yet sounding current. I don't know quite how that formula shakes out, but I enjoy the end product immensely. I'd heard the name Cut Copy tossed around for most of the year, but it wasn't until I saw a performance of this very song on late night tv (I think Jimmy Kimmel? Maybe Conan...) that I took notice, and promptly gave the entire album a listen. They're playing DC in March, and I hope to attend.

On MySpace

* * * * * * * * * * * * * * *

Honorable Mentions

Man Man - kind of Tom Waits meets Frank Zappa.

Ra Ra Riot

Girl Talk Pittsburgh, holla! Just couldn't see the sense in selecting a track from Feed the Animals, which should really be considered a whole piece (and an instant dance party, for that matter).

The Bird and the Bee - of 2006 mix fame. They put out yet another EP this year which is great, but there simply wasn't room on the mix. They're also due to put out a full length in 2009, so stay tuned.

Flying Lotus

Al Green - + ?uestove = a solid album from this legend, even better than 2003's I Can't Stop.

The Atlas Sound - I actually liked this better than the Deerhunter record.

Rainbow Arabia - they were slated for inclusion up to the final edit. Alas. But check them out. Very cool / unique / crazy stuff.

The Roots - The album is good, but there aren't really any standout tracks. Still a solid disc.

* * * * * * * * * * * * * * *
Disappointments
We Are Scientists - Brain Thrust Mastery
I loved With Love and Squalor, and was really looking forward to the follow up. It just didn't do anything for me. Alas.

Gnarls Barkley - The Odd Couple
Likewise, I loved St. Elsewhere (note that both of these were 2006 releases...) but this follow up pales. I got the feeling that GB was conceived of as a one-off project, but met with perhaps unexpected success, and decided to continue. There are some decent songs on the album, but overall, it's a bore to get through. Hopefully they move on to other projects before they decide to do another misguided album.

Guns N' Roses - Chinese Democracy
Eh, I've already said my piece, so I'll just leave it at that.

Dresden Dolls - No, Virginia
It sounds like what it is - a compilation of tracks that didn't make the cut to Yes, Virginia. And it's pretty easy to see why.

review- Guns N' Roses: Chinese Democracy

I guess it's not as bad as I thought it would be.

But one might say the same thing after eating deep fried shit on a stick.

Let me just reiterate that it is *not* Guns n' Roses. But there's no need in belaboring that point.

I don't even know where to start with this. When the title track was released a few weeks ago, it was about what I expected. Likewise with the single "Better." They sound like fairly standard rock tracks, featuring Axl Rose.

In effect, that's what the whole album sounds like. Musically competent, but could be any number of acts, were it not for Axl Rose's vocals.

More than anything though, my complaint is that it sounds horribly dated. Axl started working on this roughly fourteen years ago. And the final product sounds very 1994. As The Washington Post put it:

In both sound and sentiment it feels hermetically sealed, like it was made by someone who doesn't get out much [...] on "Democracy" [Rose is] a magpie rooting around in the Museum Of Nineties Rock Sounds, picking at shiny bits from Soundgarden, Korn and (especially) Nine Inch Nails.

Which leads me to believe that maybe this would have been a decent album were it released in 1994 or 1995. There's actually a way in which the album sounds like a reinterpretation of the greatest moments of the Use Your Illusion albums ("Estranged," "Yesterdays," "November Rain," even the Cool Hand Luke sample from "Civil War" is here). But ultimately, it sounds as if the songs on Chinese Democracy were written in 1994, but never updated to match the world that continued to change around Axl Rose. That said, people that stopped listening to new music after 1995 will probably enjoy this album thoroughly.

And that is perhaps why it's such a disappointment. Although the album is OK, in theory one would expect a project belabored over for a decade and a half would be a pretty amazing piece of work. But we all know better, and figured that wouldn't be the case.

Chinese Democracy. Like a train wreck that's been pending for 14 years, you feel obliged to listen out of a sort of morbid curiosity. There's no doubt that the album isn't a masterpiece, but I feel fairly certain that in the grand scheme of popular music, Chinese Democracy will be as remembered as the Izzy Stradlin solo album. Despite the hype from Axl's camp to the contrary, this is not Smile, this is not The Black Album. Hell, it isn't even The Spaghetti Incident?.

History will remember Guns N' Roses. The hard rock band that sliced through the hair metal bullshit of the late 1980s, having the audacity to simultaneously release two albums (a year before The Boss), who on record and on stage had a totally uncompromising attitude, and the rock band that for a brief moment, seemingly ruled the world.

The world will forget the music on Chinese Democracy however, because it is ultimately forgettable.

At least I know the Dr. Pepper will be good.

Jucifer @ Sonar - Baltimore, 11/1

A week overdue, but alas.

Last saturday we went to see Jucifer. I was hipped to this band around 2000. At that point, they had only one album to their credit, Calling All Cars on the Vegas Strip. I took to them immediately, mostly because of the contrast of very dense, heavy music and alternately abrasive/delicate vocals.

I also have a troubled history with the band.

In the summer of 2002, I drove to Cleveland to see them at the Grog Shop. I'd wanted to see them live for some time, and felt it worth the trip from Pittsburgh. I don't remember much about the opening bands then, but I do remember being blown away by Jucifer. Records are one thing, but the sheer density and power of their music impressed me, especially for having only two members. I should also mention that Jucifer is among the loudest bands I've ever seen. So loud in fact, that a mere 12 minutes into their set, they blew the power out in the building. After waiting a bit, we were told that the problem was not a simple fuse replacement, but something "in the walls" and the show was over.

Later that year, they were to play a Pittsburgh venue (the 31st Pub, I believe). Weeks earlier, I'd been in contact with one of their promotion people to set up an in studio interview at the station. They were way down with the idea - I was amped. The band and I kept in touch all that day, and then their van broke down. The chances of the interview narrowed and then disappeared. But at least I'd get to see them live. That didn't happen either, though. They never made it to Pittsburgh.

A few months later, they did end up playing at Laga. However, they were opening for Local H, a curious match given the latter's pop-punk sensibilities. Jucifer played well, but it felt as though they were very much out of their element, and I'm pretty sure only myself and a friend actually had interest in them.

A few years ago I debated about driving from Iowa City to Cedar Falls to catch them, but decided against it given my track record with Jucifer.

So I had to see them upon learning they were to play Baltimore. There were three openers.

First up were locals Isthmus. Not bad. Sort of a mathy approach to metal. Their drummer was pretty impressive, seemlessly flowing between awkward time signatures. Also, Kate and I agreed that Jucifer aside, their bassist won the award for "most rocking out." Good local band, was pleased.

Isthmus on Myspace



Up next were Salome. They were doing soundchecks and I heard this intense scream over the PA, just a quick "yeah!" but very intense in its timbre. I assumed this was on the PA music, because I didn't see anybody on the mic. Then I realized that the screams were coming from a rather petite female, Salome's lead singer. These guys were fucking great. They played maybe a 40 minute set of three epic EPIC songs. Had I an extra five spot, I would have bought their LP. Alas, I spent my cash on the new Jucifer cd.

Salome on Myspace

Lastly, there was Internet. There wasn't much to them musically. In that aspect I was not very impressed. However, they had a great sense of humor, which made their set a worthwhile spectacle. Also, they covered Beck's "Fume," which was unexpected but welcome.

(can't find their myspace page)

And finally, it was time for Jucifer. I don't know if it was the band's choice, or the soundman's, but I was pleased that Wu-Tang's "Bring da Ruckus" played over the PA before the band took the stage.

As expected, they were incredibly intense. It could perhaps be described as an assault on the senses. Although I've (sort of) seen them live before, I was taken aback at how dense and loud they are, given that there are only two members. Guitarist/vocalist Amber Valentine rocked the fuck out, showcasing both her gritty growl/scream and her softer, delicate melodic vocals (both were basically impossible to hear, however). Drummer Edgar Livengood remains one of my favorite drummers currently playing. He not only has speed, but power. I also love that he uses a bass drum turned on its side as a floor tom. He's fascinating to watch - particularly in strobe lights. The lights! In addition to strobes, they also had fucking high calibre blinding lights atop their wall of amps. This combined with the music just felt like being repeatedly sucker punched in the best way possible.

They played mostly newer material. Admittedly, I'm not as into their more recent records as Calling All Cars on the Vegas Strip and The Lambs EP (the latter being my top pick from their catalog). Not that their recent material isn't good. It fucking rocks. Especially live. I just have an affinity for the music that hipped to them in the first place.

All in all, a great show. They played for under an hour, with no encore. However, they never stopped playing, and they probably can't go longer than that given the physical exertion each of them puts into playing. And I'm being completely serious.

I recommend checking them out if they come through your town. Brace yourself.

Check them out on myspace.

And though it isn't indicative of most of their material, here's an old favorite from their debut LP:

Chormeo: DC 10/4

I promised a report, and I hereby make good on that promise, though it may be brief.

As I mentioned earlier, I've been wanting to see these guys basically since I heard Fancy Footwork last year. So in August when I got a myspace message announcing a brief fall tour including DC, I had to jump on it. Especially since they vowed to play all of the Fancy Footwork LP.

I do wish shows would be advertised more accurately. For instance, no mention of an opener on the ticket or the web, but there was an opening DJ. Wasn't really my thing.

The venue was the famous 9:30 club. Cool place, nice layout, expensive drinks (thought that might be more DC than the club). I was told the place had incredible sound. The only thing that keeps me from 100% agreement is that as with so many shows, the vocals were too low in the mix. But other than that, it was pretty great sound wise.

But that's all boring setup. Chromeo finally hit the stage, mannequin legs in tow. They were exactly what I anticipated - well executed, entertaining, silly. I appreciate that Pee only talks/sings through a talkbox. There was also a great deal of crowd participation, which surprised me a bit. Not that Chromeo is a totally unknown band (the show was after all sold out and sponsored by MySpace), I just didn't expect it. Of course, it shouldn't surprise me given that they are such a catchy, funky little combo.

True to their word, they played the entire FF album, although not in sequence. Peppered within the set were selections from their first LP, which I'd never heard previously. [I did give it a listen this week, and it's kind of OK.] Highlights for me were "Bonafide Lovin'" (which included an intro lifted from "Money for Nothing), "Fancy Footwork," "Mama's Boy" and "100%." And "Call Me Up." Ok, maybe there wasn't a particular high point. I love the album to death and they played the whole thing. There was also a brief medley led by Pee (of course on the talkbox) through some Journey songs. Most of you know my distaste for Journey, so this was probably a low point for me. But still...it was Chromeo.

In short, it was $20 well spent. If there was a bit more space and I had a few more drinks, I probably would have danced my ass off. Alas, it was a sold out, packed house and I had to drive back to Baltimore. But Chromeo live definitely gets the Gonzo seal of approval. As our new friend Peter shouted at the band, "THAT'S SOME GOOD GODDAMNED MUSIC, BOYS!"