Tinted Windows

I've talked about supergroups before, in my CLASSIC ALBUMS REVISITED review of The Traveling Wilbury's second album. It was there that I said:

"Supergroup-defined (in the music world) as a group/band consisting of members whom are already famous. Most "supergroups" fall into one of two categories--awesome and lame. For every Blind Faith, CSNY, or Gorillaz...there are a dozen Damn Yankees or Bad Englishes out there, stinking up the joint."

Supergroups fall into one of two categories:

1. Holy-shit! All those guys are getting together...awesome

and

2. WTF?!

Tinted Windows fall into the second group. I guess it's Hanson's fault. Taylor Hanson (the middle Hanson, or so I've been told by my sister Amber, who has seen them 3 times) is the lead singer of Tinted Windows. Everyone else in the band has solid rock (or pop) credibility...but Taylor is the member that's the hardest sell. I can imagine James Iha (Smashing Pumpkins, A Perfect Circle) and Adam Schlesinger (Fountains of Wayne) getting together. That one's not hard. But the middle kid from Hanson???

Then there's Bun E. Carlos who's the drummer form Cheap Trick.

Now I'm supposed to imagine a band where the members run the gambit from rock, Power-Pop, Hanson (which I'm told is it's own lame-ass sub-genre) BUT ALSO are from not one...not two...but three different GENERATIONS?!?

The story goes, the band wanted that "Bun E. Carlos-sound" for the drums, and decided "what the heck? Let's just ask Bun E. Carlos!" Carlos, who is still very much active in Cheap Trick (on tour this summer with Def Leppard AND with a new record in the works) said: "I'll do the songs for $100...$50 if I like the songs." Turns out he liked the songs...really liked them, because he officaially joined the band (even embarking on a mini-tour this summer when not on stage with Cheap Trick).

Now, I know I just slammed Hanson a bit...but I have to say--compared to a lot of the crap out during Hanson's "salad days," hell...compared to a lot of the crap out NOW--Hanson was/is not that bad of a band. They're definetly not for dudes like me, but I respect the fact that they played their own instruments and wrote their own songs. Compared to The Monkees, Hanson is The Beatles (Jesus, that was painful to write).

Anyway, the point is Taylor Hanson isn't a poser, he's the real deal and this band is awesome because it allows him to kind of branch away from that. TINTED WINDOWS is an amazing POWER-POP record that packs a punch. The songs are a little basic when it comes to lyrics, but the music is classic guitars+bass+drums--and NO CRAP.

Schlesinger's other band, Fountains of Wayne is famous for being super-catchy, and he brings those killer hooks to Tinted Windows. And like all good Power-Pop bands, Tinted Windows is all about the ladies. All the songs are about love and chicks. Nothing political, nothing dated--just the timeless thing of love and girls. This is why this album will no doubt join the pantheon of classic pop records someday.

This stuff isn't rocket science, and yes...you probalby could write one of these songs if you tried hard enough (the rhymes are sometimes painfully obvious in the lyrics). And yes, the music isn't over-the-top awesome (only a few solos on this one, despite having Iha (who is an interesting, brilliant guitar player) in the band. But these qualities are part of the throw-back quality of the band, and the album.

The lead single, "Kind of a Girl" had catchy, fun chorus. It's a light snack of a song, and it's an utter delight. I love the awesome stomping drums of "We Got Something." Another great track is "Without Love" which sounds like a long lost Cheap Trick track (I can almost hear Robin Zander singing this thing). But the song that I keep playing is "Dead Serious" which is so fucking catchy it's burrowed into my skull and is devouring my brain.

Do I feel lame for gushing about a band/album featuring the kid from Hanson? Yes.
Do I feel lame for gushing about a record that's so light? Yes, the last record I bought before this one was an Iron Maiden compilation! Why does this shit work so well, even for someone like me, who's been in a "metal mood" lately?

Because it's fun. Plain and simple.

I'm not sure how big this group will end up being, but they're pretty damn SUPER in my book.

Jason gives TINTED WINDOWS an A++ (and wonders why you haven't bought it yet!)

Two people that NEED THIS RECORD (and boy do they fall into two different demographics): my sister Amber and my Uncle David J. This thing will blow their minds...

New G'NR

Yes folks, I went out and bought the Axl Rose album...I mean, Guns 'N Rose record--CHINESE DEMOCRACY.I've only listened to about 1/2 of it--and I must say, it kicks a lotta ass. Though it's not quite as good as old G'NR, this new by-product has a pretty good sound. I was worried because I'd heard (and liked) a couple of the demos that had leaked (most notably "I.R.S.") but hated "Shakler's Revenge" when it was officially unveiled in ROCK BAND 2.

That said, "Shakler's Revenge" has grown on me. I like it. BUT I LOVE "Better." Holy shit does this song kick some serious ass. Also good is the title track "Chinese Deomcracy."

Some of it seems a little overbaked, but overall I think it's a solid purchase (though by no means worthe 17 years of development). Anyway, I'd do a full review...but alas--I have a novel to finish. But I wanted to say SOMETHING about this record because I knew I was probably going to be too busy later this week.

The only question I have now is: does my Dad like it? Dad has never been into records like I am. But apparently he had Amber go out and buy it for him. I'll wager he doesn' t like it...after all, this is hardly a "true" G'NR release (no Slash? no Duff? WTF!). Oh well, I just pretend it's a solo record and judging it by that standard--it's pretty damn good.

That Lucky Old Sun

One of the ultimate "boys of summer," Brian Wilson has released a new album in the waning days of Summer 2008.

I know...I couldn't believe it either.

THAT LUCKY OLD SUN is a a loving tribute to sun, surf, sand, and of course California. Lots and lots of California. The album is a song-cycle that seems to tell the sun's perspective of a (not so) typical day in California. To say that this record isn't super-sickly sweet would be a lie. If you have a black heart, this ain't for you. But if like me, you sometimes find yourself missing the Beach Boys then you need to check THAT LUCKY OLD SUN.

A concept album. Shiny, shimmering pop. A spoken word/story. THAT LUCKY OLD SUN is all of these things. Backed up once again by The Wondermints, an aging Brian Wilson (still every bit a "Boy") proves that youth truly is a state of mind. Though his voice is a bit quivery on some of the spoken-word interludes, Wilson's voice is strong and clear when he sings. Lyrically the album is exactly what you'd expect--a mixture of playful (dare I say, simple?) rhyme/alleteration and deeply profound poetry.

Favorite part of the record: Wilson re-ignites the legendary Beach Boys/Beatles war on "Live Let Live" where he argues (naturally) the poplar opposite of Macca's classic James Bond-theme "Live and Let Die." I also liked "Forever She'll Be My Surfer Girl" where Wilson anwsers his younger self ("Sufer Girl") and confirms that, yes you never really do forget your first love (no matter how old you get).

There's lush, complex harmonies (just like you'd expect). There's a lot of pretty piano (just like you'd expect). I honestly was not expecting to like this record. I bought it for $5.00 on impulse...and yet, like the true master that he was/is--Wilson's still got it.

THAT LUCKY OLD SUN is an epic masterpiece--a gorgeous ode to youth, love, the sun...and California. The only thing that dissapointed me were the bonus tracks. There's three extra tracks that are duets with Carole King and they're pretty underwhealming. Of the three, "I'm Into Something Good" is the one worthy of being on the disc. That said, they're "extras" so I guess I can't really nit-pick them too much.

Jason gives THAT LUCKY OLD SUN an "A+"

Strawberry Weed

Propelled to fame by, of all things, an iPod commercial--Sweden's The Caesars have finally given up on cracking American radio. How do I know this? Well they finally put a record out that DIDN'T have "Jerk it Out" on it.

I can understand the compulsion to stick that song on every record (money, anyone?). But I'm glad they've finally moved on. It's a shame the band never grew beyond the warm glow of Apple's advertising department...because the band is consistently cool.

A throwback to great British rock bands of the past (The Who, The Rolling Stones, The Kinks, etc.), The Caesars take classic rock and add a dash of modern (think: retro meets-techno). Every since the band's first record, 30 SECONDS OF BLISS (IN AN OTHERWISE MEANINGLESS WORLD), the band has impressed me with both thoughtful lyrics and catchy hooks (two thing I absolutely must have in my pop music). The latest record, STRAWBERRY WEED made me a bit hesitant however. Why? Because it's a dreaded "double-LP."

Some might argue that the double record can be successfully pulled off...but I'm always skeptical. The only exception to the "all non-live, double-LP's are bad" rule is perhaps THE BEATLES (also known as THE WHITE ALBUM). But let's face it, that record has a few odd moments that should have been cut ("Revolution 9")--and let's also face it, that record was 4-solo albums packaged together as a Beatles record.

But I digress, I'm off topic.

STRAWBERRY WEED is a moody, catchy bit of popular music that's good for cold autumnal evenings and/or warm summer nights driving around (with the top down). The first twelve songs (i.e. disc #1) is brilliant. The first single, "Boo Boo Goo Goo" is classic Caesars. Jangly guitars a-plenty. The shimmering tambourines and Beach Boy--like vocals on "She's Getting High" will put a smile on your face. The album's title track, "Strawberry Weed" is also really good (such nice images those boys paint).

Disc two is where somethings could go. Like all double records, there are some "filler-tracks." Most are strange, under-produced (very Lo-Fi/early Guided By Voices-sounding) tracks that sound like they were recorded in someones basement with an old tape deck. Some of these little ditties work, but most could go (in my humble opinion). Some of the tracks on the second disc are really good though, like the psychedelic "New Years Day." Meaning you can't just skip the second disc...they kinda made little "filler sandwiches" all over both discs.

What does this mean? It means in the end, you get a fantastic one-and-a-half Caesars record...with a handful of "blah" tracks. They're not very long, or really THAT terrible...but they do stick out. Especially when compared to the rest of the records highly-polished studio recording.

Maybe that's the point...maybe the band was trying to branch out or make a statement and I just don't get. But overall this is a good record. If you like bright, sunny sounding songs (with a slightly darker bent) you'll dig this record. If you like jangly British rock of yesterday and/or songs with the occasional handclap...then this is a record for you.

Jason gives STRAWBERRY WEED a "B-"

Weezer (The Red Album)

Weezer, the band most site as the fathers of today's "emo" movement have gone from fresh-faced rockers to gray haired, semi-responsible adults. The problem with the last Weezer record, MAKE BELIEVE, was that the band did nothing we haven't seen them do before--most of the time done much better. That cant' be said, thankfully, of the new record.

Weezer's latest self-titled record WEEZER (to be hence forth referred to as THE RED ALBUM), is a healthy mix of what makes Weezer great with some fresh new-ness. There are tight, catchy singles like "Pork and Beans" and "Troublemaker." There are aggressive rap-rock tracks that are surprisingly effective--"Everybody Gets Dangerous." The Everclear-like ballad, "Heart Songs" sounds like a quieter/more laid-back version of "AM Radio."

Someone gave Weezer some old Brian Wilson-era Beach Boys records too, because I hear a lot of PET SOUNDS influences, especially on the lengthy multi-layered "Dreamin." The ghost of Freddie Mercury is present on the "Bohemian Rhapsody" inspired "The Greatest Man That Ever Lived." That track in particular must be heard to be believed. It runs the gambit of several musical styles/genres and is truly a masterwork (I mean, for a rock band).

Some of the rumors I heard surrounding this record made it sound like lead singer/songwriter Rivers Cuomo was leaving the band. After listening to the album I understand how this (false) rumor originated--for the first time Cuomo doesn't sing all the songs (which may be a bit jarring for some people, but I had no problem with this).

THE RED ALBUM isn't perfect. Like a lot of Weezer albums it's heavily front-loaded (the first three songs are all singles). Most people will probably get all the way to the end once or twice. I found the later track "Cold Dark World" tedious and unnecessary. Out of ten songs, of the last five only two were really any good ("Dreamin" and "Automatic" (which isn't a Cuomo song)).

Leaps and bounds better than their last effort, THE RED ALBUM will be hated by most hard-core Weezer fans (as is tradition, they always loath the band's most current album--until a new one to hate comes out). The band ditched all the keyboards from the previous record and returned to a harder, more familiar sound--all the while still branching out into new areas. I can't wait to see what the videos will be like. Oh, and Rivers need to lose the stash...he looks ridiculous.

Jason gives WEEZER (THE RED ALBUM) a "B+"

Same Old Man

I love John Hiatt.

He's probably one of the best/consistent singer-songwriters...ever. I got into Hiatt after seeing him open for B.B. King out at Starlight (an awesome, though little-used outdoor venue in Kansas City). It was an amazing set--he was out promoting THE TIKI BAR IS OPEN (great, great album). Anyway, Hiatt stole the show that day and I've been following him ever since.

Pretty much everything he's put out since 2000/2001 has been quality. His last album, 2005's MASTER OF DISASTER is still in rotation when I take trips across the state. So, when I heard he had a new album coming out--I was excited. SAME OLD MAN is not a bad record, it's just a poor Hiatt album.

Don't get me wrong, there is plenty to like--the bluesy shuffle of "Old Times" (which is a nice story/song about his early career) and the title track "Same Old Man" are two great tracks. Love them. But SAME OLD MAN suffers from too many low-tempo love songs: "Our Time," "Two Hearts," and the borderline annoying "On With You" which has Hiatt repeating over and over--"I just wanna go on with you."

I was really saddened by how lackluster some of the writing was, too. MASTER OF DISASTER had some incredibly memorable lyrics (the title track's poetic wordplay still pops into my head from time to time). SAME OLD MAN has a few stand-out moments, like in the albums best love song "Let's Give This Love a Try" where Hiatt sings "I’d rather be in a barrel of salt and pickle brine with a 1000 paper cuts" That's so crazy I couldn't help but smile.

I don't mind the sleepier side of John Hiatt, I just whish he'd bring his A-material if all we're going to get are slower ballads. Again, I'm a super-fan...so perhaps I'm judging him too harshly. Forgetting his other decades of success, during the past 8 years Hiatt hasn't (in my opinion) put out a "bad" record...that said, I think this one could have used a little more punch. Musically and lyrically--I found it to be Hiatt's weakest outing since I starting following him.

Not what I'd encourage new listeners to start with (THE TIKI BAR IS OPEN or CROSSING MUDDY WATERS is where you should begin, unless you just want to buy the GREATEST HITS CD). Still, it's admirable that unlike most of contemporaries Hiatt is still writing and recording new music, rather than relying on his past hits.

I still love John Hiatt, I just wasn't blown away by this album.

Jason gives SAME OLD MAN a "C+".

Runnin' Wild

Do ya like AC/DC? Wish they were still making music?

Then you're going to dig Airbourne. Part of me wants to dismiss Airbourne as a rip-off band, but I think that would be a mistake. How did you feel about The Darkness? Because it's a bit of the same situation...

Look, if someone put a gun to my head and said: "Write a song...one that sounds like AC/DC (or Queen in the case of The Darkness)" I'd have a pretty hard time doing that--let alone have it sound fresh. The people that can do that shouldn't have to face the question: "is this original enough?" Screw it, it's just rock'n roll.

Airbourne--a band (from Australia) is really good at channeling the spirit/energy of AC/DC, while at the same time making something new. This is one of those bands that I heard about via Michael Butler's podcast (The Rock and Roll Geek Show), once again Mike has turned me onto something cool.

"Stand Up For Rock and Roll" and "Too Much, Too Young, Too Fast" are two of the best Rock (not Pop-Rock) songs I've heard in years. There's an energy, a hunger if you will--that the band is able to project. Much of the record's "classic rock" posturing doesn't come off as forced (or fake) like it does when many bands try this sort of "homage" (I'm looking at you JET). As good as the record is, I have a feeling this band is twice as good live.

I wish I could say more, but with a band this straight-forward, there isn't much you NEED to say. Check 'em out--they're balls-to-the-walls fun.

Jason gives RUNNIN' WILD an "A-"

Elephant Shell

I've been a big fan of Tokyo Police Club for over a year now. I found 'em on MYSPACE one lazy afternoon while I was sitting in the dorms (basically a lifetime ago). Back then, the band was giving their three songs away for free. These songs ("Cheer It On," "Nature of the Experiment," and "Be Good") were tight little (very short) alt-rock gems. The band had a more refined Strokes-like vibe. I played them for a few friends, and they thought the band was good.

Then a few months went by, and by God...I saw them in Rolling Stone! The band's E.P. (kids, go look this term up) A LESSON IN CRIME came out, and was damn good--if you don't believe me, go back and check out my gushing review.

Months and months later, the band has finally issued a proper album: ELEPHANT SHELL. And I hate to say it: but it's too little, too late. Instead of tight little alt-rock gems, what we have is pseudo-intellectual, literary art-rock. *YAWN* A few months ago Vampire Weekend did all of this (and more) much, much better.

With songs titled "Tessellate" and "Listen to the Math" Tokyo Police club have effectively lost me. Some of the band's former greatness shine through, like on "Sixties Remake" (which recalls the earlier "Nature of the Experiment") and the single "Your English is Good." But for the most part, the songs are bland, uninspired, mindlessly repetitive, and overall soulless.

In short, ELEPHANT SHELL is a dismal, boring record. The lead-singer just can't carry a full album. His "unique" vocal-styling outstay their welcome. The band's cutesy twinkling pianos wear thin but the ninth track. The "what-the-hell-are-you-taking-about" lyrics get old.

This is a huge disappointment and a mess. I'd had great hopes for Tokyo Police Club...but I guess the critics (and myself) were only fooled by yet another 'flavor-of-the-month' band.

Jason gives ELEPHANT SHELL a "D-"

Accelerate

I first "discovered" REM back in 1991, when my folks and I were watching Saturday Night Live. They were the musical guest, promoting their "breakthrough" album OUT OF TIME. My Mom went out and bought that record (on cassette tape), thus beginning a long love of REM. This is contrary to most REM fans. See, REM started out as a popular college band--that got "big" and sold out. Slowly, the band became more and more "pop" and less "indie-college-radio." To regain street-cred with their old audience, they put out NEW ADVENTURES IN HI-FI in 1996. That was the last REM album my Mom bought. In 1998, after the band's original drummer Bill Berry left, they put out UP (a really good techno-ish record). That was the last time I bought/listened to a new REM record.

Since then, they've put out two records...and I could care less. The band just seemed to be going through "the motions." Every few years put out a record, tour...repeat. Then I starting reading about how "REM was back." How the new record was loud, bombastic, catchy, and good. Then Little Steven played the band's new single "Supernatural Superserious." And it was really good.

Unlike previous efforts, ACCELERATE is a loud, raucous REM album...like we haven't seen since 1994's MONSTER. Sure, there are the obligatory acoustic/singer-songwriter-y songs ("Hollow Man" and "Until the Day is Done") but for the most part, ACCELERATE is a hard-charging electric guitar record. REM's always been a little "folky" you could say--with the major exceptions being MONSTER and UP, and now ACCELERATE. And that's just fine with me. I think this sort of formula shake-up is just what the band needed.

"Supernatural Superserious," is probably the best REM single since 1992. Like most REM songs, I have little to no idea what this song is about...but damn is it good. Catchy, with a fantastic bit of backing vocals (a bit of Beach Boys aping, like on OUT OF TIME)...with some awesome fucking guitar. The Beatle-esque "Mr. Richards" and the titular track "Accelerate" are also excellent additions to REM's songbook.

ACCELERATE is quick and dirty (only 35 minutes long), and only stumbles on the longer "slow burners." Songs like "Sing for the Submarine" and "Until the Day is Done" sound too much like earlier works ("Try Not to Breathe" and/or "Nightswimming"). Had these songs been left off, the album would have run much too short...but they still feel like heavy lead shoes compared to the lightning fast, hard charging rest of the record. Oh well.

Much has been made of the political content of ACCELERATE, and on some tracks ("Living Well is the Best Revenge" and the apocalyptic "I'm Gonna DJ" (which by the way rips off Blur's "Song 2")) it's more apparent than others. Maybe it's the mindless head-bobber in me, but I really didn't notice this aspect of the album. But it is REM, so there are probably endless layers. Overall ACCELERATE is great return to form by one of my all time favorite bands.

Jason gives ACCELERATE a "B+"

Konk

Follow-ups are a bitch.

There is this big music-biz/industry cliche that says bands always falter on their second album. This is not the first time I've written about this, and I'm sure it won't be the last. The truth is, most bands have their wholes lives to work on the "first" album. Then the success comes. The truck-loads of money. The contract that says, "do it again in six months or less."

Yikes. Talk about pressure, right?

Some bands emerge onto the scene with fantastic, amazingly good first records...only to be killed by "sophomore-album-blues." I'm looking directly at you Jacob Dylan (seriously, what the hell happened to The Wallflowers?). Anyway, I'd like to say that The Kooks have leaped over the terrible hurtle that is the second album...but they didn't. They almost did, but no quite.

KONK is a very good record, but it's nowhere near as good as INSIDE IN/INSIDE OUT. That record came out of nowhere, jam-packed with singles like a cool English breeze. KONK couldn't really best that record, not even if it was perfection because the surprise is gone. "The Kooks? Oh yeah, I know about them..." This is one of those records that, if you're already a fan--you will like it. But, if you missed INSIDE IN/INSIDE OUT you might wonder what all the fuss is about while listening to KONK.

Sure, there are hooks and head bobbing...but nowhere near the quantity as before. What's good: The Monkeys/Kinks-ish "Mr. Maker" and the "Do you think I'm Sexy"-like "Do You Wanna?" The jangly guitars are back and so is the syrupy puppy-love poetry. Maybe I'm just getting too old...but I was really digging "Shine On" until the line at the very end: "About your hair/ You needn't care/You look beautiful all of the time." Now I'm sorry, but that's some shit I used to write in the margin of spiral notebooks...in High School. That's not just weak-sauce, that's down right embarrassing. But chicks will no doubt swoon over it (just like in High School). And I guess that's alright, but this dude ain't buying it.

Anyway, there is one really amazing track near the end, "One Last Time." It's a short Shins-type bit of melancholy Indie-Rock. Also the last track "Tick of Time" reminded me of Beatles outtakes during the LET IT BE or WHITE ALBUM sessions (tambourines, acoustic guitars and giggles). And pretty much anytime anything reminds me of the Fab Four...it's a good thing. The lead single, "Always Where I Need to Be" is nothing to sneeze at but at the same time nothing to write home about (how do ya like that? Not one but 2 cliches in one sentence! Damn, why am I not a Nobel-prize winner again?). That's kinda how I'm sum up KONK as a whole...not great, but serviceable.

Jason gives KONK a "B-"

Note: This doesn't come out until next week, and when it does it's supposed to come with a second bonus-disc (with 7 additional new songs) that I was unable to..."preview" for free.

Consolers of the Lonely

I must confess...I had no idea "supergroup" The Raconteurs were working on a second album--which is why me, and the rest of the music-loving world was shocked when it came out last week. Consisting of Jack White (of The White Stripes fame) and most/all of the garage band The Greenhorens, The Raconteurs play a crunchy hard rock. A bit like Led Zeppelin meets later Who records.

CONSOLERS OF THE LONELY is ragged, jagged, and bat-shit crazy. As an overall piece of music, I'd say it's probably the weakest thing White's name is attached to. But there are pieces of brilliance. First the bad: the songs aren't very catchy, Jack's voice is (somehow) screech-ier than usual, and the album has a few songs that just don't work ("Many Shades of Black" I'm looking at you). When I first heard "Many Shades of Black" all I could say to myself was "What the hell were you thinking?" It sounds like a fucking John Mayer song. I also really miss Jack's playful/weird songs that usually pepper a White Stripes album (which I know this isn't). The closest thing we get is the short little country-rock ditty "Pull This Blanket Off," which is good but too short. The album's last song, "Carolina Drama" feels like a forced "Rocky Raccoon" knock-off that misses the mark and lands in Jerry Springer territory. Ugh, it's not very good.

What's bad is really bad on this record ("Mandy Shades of Black") but what is good is really good. The album's bombastic single, "Salute Your Solution" and the almost New Wave-sounding "Attention" are both fantastic. Lyrically they're not much to write home about, but both feature some fantastic guitar work (this album is chock full-o-solos). I'm also particularly fond of the piano and harmonies on "You Don't Understand Me" (which almost sounds like ELO). I was also oddly moved by "These Stones Will Shout" for reasons I'd rather not share (how do ya like that?).

Overall, CONSOLERS OF THE LONELY is a lot like the band's first album, BROKEN BOY SOLDIERS--in that it's technically very well done, but just doesn't do it for me.

Jason gives CONSOLERS OF THE LONELY a "C"

Vampire Weekend

The latest "buzzband" that every publication is hailing as "the next big thing" is a little Indie-Rock band from New York who call themselves Vampire Weekend. After being less than blown away by some of the previous "buzzbands"/flavor-of-the-moment groups--I listened to the bands self-titled debut with much trepidation.

Having lower expectations protects the cynic from a crushing failure...but it also leaves one a bit disoriented when there is a fantastic, unexpected triumph. That's what VAMPIRE WEEKEND is--it's a fantastic triumph.

With a name like Vampire Weekend, I bet you're expecting some sort of industrial/goth rock, right? Wrong. This band sounds like GRACELAND-era Paul Simon and early 80's Police (you know, Stings band?). They're a four piece rock band, but they use a LOT of Afro-beat in their music (lots of rhythmic drumming/shakers). I was also surprised by how much organ was used throughout the record. Overall, it's a strange blend of classic rock and world music. It doesn't sound like it was made by rich, white, east coast kids. And that's a good thing.

Vocally lead singer Ezra Koening falls pretty close to the previous mentioned Mr. Simon--but with a strange British accent. It works, but reminds me a bit of Bloc Party (who actually are British). Anyway, the songs are fantastic. From the cheery strings on "M79" to the blistering (yet breezy) 'white dude's reggae' (think OUTLANDOS d'AMOUR) of "A-Punk."

One of the great things about a record this unusual, and unconventional, is that I honestly can say this is a record for just about anyone/everyone. Fans of music everywhere, take note.

Jason gives VAMPIRE WEEKEND an "A."

Liverpool 8

Ringo Starr is probably my least favorite Beatle. I don't know why, there's certainly nothing wrong with Ringo. In fact, there is actually an awful lot to like about Ringo--he's funny, always smiling, and unlike the rest of The Beatles he always seemed so down-to-earth.

George was a speed freak--blazing across the English countryside in flashy European sports cars. John lived with a crazy artist...and the less said about his and Yoko's TWO VIRGINS album the better. Paul is Paul. As a Beatle fan he's the one guy we all love to hate. He's pompous, rich beyond belief--but so incredibly stupid. Between embarrassing himself both personally (marriage #2) and professionally (selling the rights to The Beatles songs, what are you daft???). But what has Ringo ever done? He was in a silly caveman movie...he worked on Thomas the Tank Engine for PBS. Ringo is harmless. And despite being the oldest of The Beatles, he's still alive and kickin.

Still, poor Ringo was the worst songwriter in The Beatles--which is probably why I know the least about his solo career. But being the worst songwriter in The Beatles is like being the poorest Billionaire on the block. In 2005 he pimped CHOOSE LOVE on Little Steven's Underground Garage and I snapped it up, it was great! Very poppy/silly rock. Sorta like Velveeta, cheesy (and unhealthy) but strangely satisfying.

LIVERPOOL 8 is the closest thing to a "serious" album that Ringo's probably ever going to put out. Four of the twelve songs actually have the word "love" in the title. The rest are all pretty much about love, too. This isn't a bad thing, but it seems to be Ringo's trademark. Everything "love" and "love"-related. Lyrically, Ringo can be a little too cute for his own good..."you are mine" rhymed with "sun will shine," that sort of thing. Despite it's simplistic nature, you don't feel embarrassed for him because...well it's Ringo and he sings it so damn earnestly.

It's a ringo album, so the drumming is fantastic. Though I wouldn't call this a country record, Ringo has always had a blues/country element to his music and that's here too. This is best heard in "Now That She's Gone Away" which is blues-lite number. The album's title track, "Liverpool 8" is all about his life, it's pretty good, but nothing really to write home about. For me, the best track is the very last one "R U Ready?" Now, don't let the stupid spelling fool you, this is actually one of the deepest, most spiritual songs I've ever heard. That's the thing about Ringo, he's very cheeky/silly and then WHAM!!! Turns out he can write a song about spirituality better than Lennon and Harrison (both of whom, wrote some really good spiritual songs). "R U Ready?" his a banjo-laden country romp through all the major religions--and how in the end, heaven is there for all of us ("all roads lead to heaven, no matter what they say..."). Plus is has a nice guitar AND banjo solo, sweet.

The album is better than it's individual parts (that's called "album writing" children). Fantastic that this sort of thing exists in 2008.

Three cheers for Ringo.

Jason gives LIVERPOOL 8 a "B."

In Rainbows

If you haven't heard, Radiohead put out a new album yesterday. Well...sort of. See, it came out in stores yesterday, but people have been listening to it online for a long time. They downloaded it from Radiohead's website--where the band let fans decide how much they wanted to pay for it. Want to give them $100? Okay, cool (weird, but cool). Want to give them a penny for it? Great!

You can't download it anymore from their website (I guess it was on a pre-order only basis), still this whole experiment is being hailed as a glimpse into the future by many in the media. I'm not sure what crystal ball they're looking into...but they need to polish it up or something--I find the whole thing ridiculous. Given the choice, what idiot would pay for something he/she could get for free? Radiohead knows this, that's why you can't get it for free anymore off their site. That's why it came out in stores yesterday.

Full disclosure: I didn't pay for this album.

Now onto what's important, what really matters--the music:

I am not by any means a big Radiohead fan. In fact, the only album of theirs that I have (and paid for) is their second well known record, THE BENDS. That record is a brilliant piece of 90's Brit-Pop. There are great, catchy tunes that have a mysterious/somber attitude that set Radiohead apart from fellow Brit-Poppers Blur, Oasis, and Supergrass. Radiohead always struck me as very literate, "serious" music. Then something happened, and the band started putting out all these (critically acclaimed) weird techno-experiments--calling them "albums." To be honest, I've only listened to bits and pieces of them...but frankly, they're not my cup of tea.

Still, with all the news/press surrounding Radiohead's latest "innovation" (the music press is always calling them "innovative" I don't know why...trance/techno music has been around for years) which is of course not music related at all but rather, a boring bit concerning distribution. Call me a sucker, but I fell for Radiohead's trap and became interested in a record I probably wouldn't have cared about.

And so, how is it? It's pretty good. The big news is--this is very much a "rock band" album. There are drums, bass, guitar, piano...you get the picture. Though there are some trippy-electronic elements involved, you can tell that there are actual human beings behind the sound. The record opens with the funky, techno-groove "15 Step." Like most of the record, it sounds a lot like U2's brief foray into techno POP. The track is pleasant and reminds me a bit of breezy island music (no idea why...maybe it was the gentle guitar). I really liked the second track "Bodysnatchers" as well. It has a very nice, crunchy guitar riff. There is a very nice, quiet element to the record that caught me off guard. I'm thinking specifically of "Faust Arp."

I confess, I'm not sure what most/all of these songs are about...but they sound great. I came in ready to hate it--but IN RAINBOWS is actually really quite good. A solid album from a band I lost track of many years ago. Thom Yorke's somewhat whiny vocals are still a bit underwhelming , but if you like vintage Radiohead you'll probably like this album. And if you're new to band, I can't argue with you checking it out either. While my gut would like to recommend the un-initiated to check out the band's earlier (more rock) efforts like THE BENDS or PABLO HONEY...I can't help but see that this more experimental (less rock) stuff is what Radiohead is all about these days.

If you like pretty sounds or are curious about Radiohead's new album I suggest you hit iTUNES up and give the samples a listen.

Jason gives IN RAINBOWS a B+

Standard Gargoyle Decisions

This one slipped right through the cracks...I bought this CD about a month ago when it came out, and I totally forgot to review it! Oops...

None of you know who the hell Robert Pollard is, but he's the greatest rock-star that never was. Pollard is truly the stuff of Indie-music legend. The tale is complex, but here is a brief synopsis:

This kid has dream--wants to be in The Who. Kid grows up, but never really "grows up" (if ya get my drift) and ends up a thirty something 4th grade teacher with an unusual hobby: the guy writes songs. On weekends, Bobby Pollard and some of his Ohio drinkin' buddies get together and play "rockstar." Bobbie records some of their sessions on a 4-track tape recorder. Pretty soon, a band is born--Guided By Voices.

Eventually, people are paying to see the little band of buddies get drunk and play their little songs. An independent label starts putting their stuff out. It's all "lo-fi" (meaning it's cheaply recorded) but it has soul. Turns out Pollard can write really catchy, 60s era rock songs. Really, really catchy ones. The band goes through LITERALLY HUNDREDS of members, but one constant remains: Robert Pollard.

Guided By Voices takes off, Pollard quits teaching and is suddenly a "near" rockstar. After a decade of rocking, the Pollard calls it quits for GBV (they never got bigger than playing Conan O'Brien a few times and being in the odd soundtrack...like on SCRUBS).

But like all prolific geniuses (Stephen King I'm looking at you), Pollard's "retirement" is nearly as prolific as when he was active.

Case in point, last month he released two solo records...on the same day. One was a soft, prog-rock-experiment, the other was a straight rocker STANDARD GARGOYLE DECISIONS. Being poor, I opted to skip the experiment and buy the rock. And I'm glad I did. Pollard's fourth (or is it fifth?) solo record since GBV split is actually pretty good, just not as good as the old Guided By Voices records were. Essentially, it's a mellow GBV record. Call it GBV-lite.

Pollard still sings in his fake British accent (sometimes sounding like Peter Gabriel) , the tunes are still catchy and very short. Pollard's chief songwriting talent is the ability to write hooks. You know, the part of most songs you remember? Well Pollard can do that like no one, only problem is...that's all he writes. So what you get are 2:o0-2:30 songs that are hooks and guitar riffs. These songs either click with you, or they don't.

STANDARD GARGOYLE DECISIONS is good, but nothing I would play for anyone I know and expect them to "get it" on the first listen. The longer Pollard goes without his band, the more "difficult" his albums become. There is something magical about hearing a new Pollard song, though. I got goosebumps hearing "The Killers" and "Pill Gone Girls" the first time I put the disc on. There are a few moments like that, peppered throughout the record--that make me remember how great GBV was. Everything else falls into two categories: just okay or what I consider "filler" (noise that barely resembles a song).

Pollard frustrates me because his moments of brilliance (revealed in the list below) are just barely good enough to justify the rest of the crap he loads onto his CD's.

The man simply cannot self-edit.

Basically he writes and records EVERYTHING that passes through his head. This is probably what killed his bid for the big time. But, if you can look past the turds...there are some real treasures.

Go download the following:

"Pill Gone Girls"
"The Killers"
"Spider Eyes"
"Feel Not Crushed"
"Shadow Port"
"Psycho-Inertia"


Jason give STANDARD GARGOYLE DECISIONS a C+

The Black and White Album

Guess who's back?

That's right: Howlin'Pelle Almqvist, Nicholas Arson, Vigilante Carlstroem, Dr. Matt Destruction, and Chris Dangerous--aka The Hives are back. Their new album came out on Tuesday and it kicks major ass.

When we last left the boys from Sweden, they stepped their game up (in a big way) on the spectacular TYRANNOSAURUS HIVES. I've said it before, and I'll say it again--there is something in the water up there in Sweden...because NO ONE rocks harder than the Swedes (at least, right now).

This is The Hives third record, and though they have a particular formula, it still feels fresh: the scream-y vocals (come on, he goes by "Howlin'" what do you expect?), the big fat guitar riffs, the crazy "me-you-us-against-the-world" lyrics. It's all here.

But like the previous record, The Hives continue to branch out and to expand their sound. Prime example: the funky, '70s soul/disco sound on "T.H.E.H.I.V.E.S" Much like "Diabolic Scheme" from the last record, this track again highlights that if they really wanted to--The Hives could be a funk band.

Some people might be turned off by this sort of odd-genre mixing, but I have no problem with it. What most people want from The Hives (or expect from them) is the explosive/bombastic rock song. No one in the past 10 years has had singles as dynamite as The Hives. With this in mind, the band has wisely crafted their new lead-single, "Tick Tick Boom" to play up on this fact. The song is an orgy of guitar goodness. Some people are going to fault them for using the studio trickery during the hook (the "boom!" in the song) but I can't blame them. If you had the money, you know you would do it, too. Great, great song. Probably won't be that big of a hit (sadly) but it's good.

The album isn't as tight or cohesive as TYRANNOSAURUS HIVES (which is still their best record). Whereas the last album grabbed you by the shirt collar and shook you, THE BLACK AND WHITE ALBUM seems a little gentler. I was able to stop and catch my breath a few too many times. However, there is something to be said about the up-and-down carnival ride-like experience this album gives you.

What the hell do I mean by that? Well the band goes from full throttle rock, to the before mentioned funk, to a creepy instrumental (the organ and drum machine love fest "A Stroll Through The Hives Manor Corridors").

Consider also the album's weirdest (and best) track, the vaudeville-esque "Puppet on A String" which consists only of a piano and some hand claps.

What I'm getting at is: it's a long, strange trip. Emphasis on long--THE BLACK AND WHITE ALBUM is the same length as both of their previous records...combined! The only fault I can ever really find in The Hives is that their records are simply too short (the last two were barely over 20 minutes each). The fact that this one is double the length of their last two is a good sign.

Overall, the record is fantastic. I like the weirdness, but it does push the band away from their Garage Rock roots--and I could see it alienating a few of their fans. But, as someone who likes it when a band (or artist) tries something new, I have no complaints. For $7.99 you can't go wrong.

The Limemonkey gives THE BLACK AND WHITE ALBUM an "B+"

Graduation

Ah, Graduation. It's coming, soon...

The end of the line, that final step in the educational process. A graduate is supposed to be complete, confident, ready to face the world. Reality is crashing down on me. I'm starting to freak out. Luckily for me, I have GRADUATION. I first heard of Kanye West back in 2004 when his debut, THE COLLEGE DROPOUT came out. At the time, all I knew about it was that it was highly regarded and featured the cutest little teddy bear on the cover art. Then in 2005, during my first month living in the dorms my friend Ty asked me to burn her a copy of West's second disc LATE REGISTRATION. Naturally, I did (I did a lot of things that girl asked) and in doing so the album ended up ripped onto my laptop. For whatever reason, I left it there. A few days later, I listened to it from start to finish.

Now I'll admit, I'm not a very big rap fan. In fact, I can really barely tolerate most of it. My reasons are pretty much what most "lame" white people give when they criticize rap: It's demeaning to women, there is little ACTUAL music, there is no singing only shouting, I don't relate to it's common themes of drug dealing and street violence, all most rappers do is talk about how great they are, all most rappers do is brag about how great they are, etc.

All of my criticisms are valid, I think. All of them can be applied to Kanye West's music, too. Yet there is something different about his music, something that appeals to me. Despite being classified as "rap," West (who's actually more producer than rapper (even I can tell his delivery is weak)), takes risks and does things most rappers don't. True, he samples...but West samples THE DAMNEDEST THINGS--a quick glance on Wikipedia reveals everything from Elton John, Daft Punk, Shirley Bassey, Mountain, Steely Dan!!! What the fuck??? Steely Dan??? Combine West's propensity for unusual sampling with his favorite co-producer (and mega-cool-indie rocker) Jon Brion's lush strings/orchestration...and well Kanye West convinced me that even I could find rap engaging and accessible.

So I didn't blink when I heard that he had a new album coming out. I got in my car and bought it the day it came out. The album is great, however it's not as immediate as LATE REGISTRATION. I have to agree with the Rolling Stone review--this one will have to grow on you a bit before you get into it. Still, there are so many good tracks. The opener "Good Morning" with it's heavenly Beach Boys-inspired vocal harmonies, the Daft Punk-sampling lead single "Stonger," the confident swagger and breezy joy of "Good Life," and the melodic "Homecoming" (featuring Coldplay)--all are good on first listen. The rest of the album does take a few listens before connecting...and some fail completely. I'm thinking specifically of "Drunk and Hot Girls" with it's overall lame-ness (however even it's nearly redeemed by it's haunting piano/string combo).

Overall--if you need a work out "pick-me-up" pop in "Stronger." It will keep you on that treadmill/bike. And while I usually hate hearing a rapper brag about how great he his...I find I don't mind it so much when the person doing the bragging is (nearly) 100% right.

Jason gives GRADUATION an "A-"

Inside In/Inside Out

Very rarely does Leah get excited about an album. Somehow, she got turned onto INSIDE IN/INSIDE OUT by British rockers The Kooks--and she fell in love. It's not hard to understand why, one listen is all it take to reel you in. The Kooks are bit like recent media darling James Blunt (well only a little bit, they're British and use acoustic guitars so it's easy I guess to draw comparisons, The Kooks are actually superior in my opinion).

Album opener "Seaside" is a quiet, sad little ditty...and it sets you up for a shock when the second track "See the World" suddenly blasts forward. This is an "electric" album that has a distinctive acoustic feel.

The band has a very unusual songwriting style, it goes a little something like this: opening chords, first verse, 180 degree change in the chorus, (repeat). Pretty soon listeners begin to detect the pattern. My first experience with these songs went something like this: "Alright, this song is a bit slow...maybe a bit boring...oh shit, that's an awesome hook they have in the chorus...wow...this is a great song."

They're actually all really great songs, and most of them feature this intricate, maze-like structure. All you have to do to like a Kooks song is basically wait about 45 seconds for the chorus to start, then all the pieces fall into place, and you love it. Currently the single the band is pushing is "Naive," but frankly any of these songs could work as possible radio friendly songs. My personal favorites have the most unusual names: "Eddie's Gun," "Jackie Big Tits," and the brilliantly addictive "Ooh La" (which features the lyrical hook "ooh La!").

The songs are dark, but not really downers (the love songs tend to lean more toward "come back to me" rather than "she loves you and you know that can't be bad"). Hell, they have a song titled "You Don't Love Me," but it's never a 'make-you-want-to-jump-off-a-bridge' type record. Speaking of The Beatles, they're a ghost that haunts all British rock bands--The Kooks are no exception. Listen to the jangly guitars on "Ooh La!" or the shaking tambourines on pretty much the whole album...yep, that's REVOLVER-era Beatles. "She Moves in Her Own Way" almost has a soft-reggae feel to it (and it has a perfect chorus).

Even the album's weakest track, "Matchbox" is good, with it's fast paced guitar noodling (thought without a really glaringly memorable hook it stands out like a sore thumb on this record). No, the biggest problem I have with INSIDE IN/INSIDE OUT is it's length. Fifteen tracks...with a running time of 44 minutes? Over half the tracks clock in at less than three minutes. This minor defect aside (it's always good leaving 'em wanting more) this is the best record I've heard all year. The Kooks are a great new band, and I suspect they are a fantastic live act (after all, the entire record is pretty much guitar, bass, drums...nothing fancy (other than feedback)). I can't wait for the next record.

Jason gives INSIDE IN/INSIDE OUT an A++

Version

For her birthday, I bought my "little" (23 year old) sister Mark Ronson's debut CD VERSION. Who the hell is Mark Ronson? Ronson is a famous British DJ (the sort that spin records...not the kind that are on the radio) who has been working as a producer for a while now. You'd think that Ronson's first "solo record" would have the guy stepping out of the shadows and into the limelight...but instead nearly all the songs feature huge/mega-famous artists. It was for this reason that I picked it up for my sis.

Here's a breakdown of who is on this record: Lily Allen, Daniel Merriweather, Kasabian, Robbie Williams, Amy Winehouse, Tigger, Santo Gold, Kenna, The Daptone Horns, Paul Smith (of Maximo Park), and Phantom Planet. The album consists of these artists (along with Ronson's "flair" which I'll get to in a moment) performing covers. Basically, VERSION is a glorified covers album...with a twist. Rather than have this great collection of current pop stars cover older or classic songs, Ronson instead opted for a different approach--newer songs by newer bands.

Lily Allen covers up-and-comers The Kaiser Chiefs on "Oh My God!" Rapper (now dead) ODB and Tiggers cover (*gasp*) Brittany Spears's "Toxic." Phantom Planet tackles Radiohead's classic "Just." All of this is crazy, and all of it works. Any album that can get me to like a Brittany Spears song is truly amazing. The reason a song like “Toxic” works so well on this album is all due to Ronson—let me explain his part in all of this madness. When I put this CD into my car’s player, I was expecting a re-mix album. You know—lame ‘club’ re-workings (too much bass, less vocals, the song’s hook repeated 500 times in a row). VERSION is not, let me stress…NOT A RE-MIX ALBUM. Ronson took these classic songs and infused jazz (along with a little world beat) into them.

Prime example: “Just.” Ronson deletes all the ‘alternative rock’ vibe and replaces it with shiny big band brass. Think Gorillaz meets MOULIN ROUGE (if you haven’t seen this movie go check it out, it’s great…they re-work a bunch of classic rock songs). Fans of Amy Winehouse’s “everything-old-is-new-again” sound will appreciate VERSION. That said, it is a bit more urban/hip-hop than BACK IN BLACK (come on, ODB is on it…it has to be more street). Ronson has three instrumental tracks that are only credited to him, and they’re really good (nice bouncy jazz).

VERSION is great, but I wonder how popular it’ll be. My sister told me she “hated it” and “had to turn it off.” She’s a notorious hater of covers, so an entire album of covers probably rubbed her the wrong way. And frankly, if you like the original Ms. Spears version of “Toxic” you’ll probably hate this album. But, if you like your pop music to be a little strange (really strange) and/or you enjoy modern jazz…you’ll probably enjoy the strange ride.

Jason gives VERSION a “B+”

The Con

I'm a sexist-pig, and like all sexist-pigs...lesbians fascinate me. Like so many good things in life, I found out about Tegan and Sara from Little Steven's Underground garage. Their third album SO JEALOUS was a fantastic blend of garage rock and Lilith Fair type folk. The girls have sugary sweet voices but what really interested me was:

1. Identical twins

2. Cute as hell

3. Lesbians (both of 'em)

Putting all that aside (stupid male brain), Tegan and Sara are a great musical talent. I think SO JEALOUS is one of the best records of the past 10 years. Hell, Jack White agrees...his little band, The White Stripes (perhaps you've heard of them?) released a single a year back (or so) that was a Tegan and Sara cover ("Walking with a Ghost"). And in general, they're the best Canadian artist...like ever (sorry BNL and Rush). Anyway, I've been waiting for them to put out a new record--and they finally did. It came out today, and I streamed it on Myspace.

How is it? Not as good as SO JEALOUS. My biggest problem with THE CON is that it's nearly all acoustic indie-folk...not much garage here. I don't mind folk, per say...but Tegan and Sara devolve into (let's face it) a music cliche (thank you Indigo Girls) without the harder stuff. Sure, the voices are still sickly-sweet (even as they sing about heartbreaking things)...but it feels like a rehash.

There are a few highlights: "Hop a Plane" is quicker and recalls the better tracks on SO JEALOUS. I love the synthed out treatment this song got...I wish they would have diversified their sound like this a bit more. Another good one is "Burn your Life Down." The title track "The Con" is also really good...everything else just sort felt like filler. I was disappointed. Rather than buy this one, I think I'll just download those "choice cuts."

Jason gives THE CON a "C-"