Just Kids, by Patti Smith

Patti Smith is the proto-punk goddess whose music is fierce, but hardly every listener’s cup of tea. Robert Mapplethorpe was a photographer whose most famous works were pictures of nude men, often depicted in sexually explicit poses and masochistic acts. I like some edgy things, but neither of these artists really do much for me, and a more conservative person might run the other way. I’m not even a huge fan of their scene, where style and innovation seem to matter more than substance, but I’ve always been curious about those magical moments in history where a group of creative people find each other and use the energy of their meeting to create something new.

Patti Smith’s memoir, Just Kids, captures just such a time perfectly. Smith came to New  York in 1967 after giving up a baby to adoption upstate. She was young and looking for a fresh start. One of the first people she met was Robert Mapplethorpe, a minor acquaintance who became her fast friend after saving her from a bad date. The two moved in together and tried to make a go of a relationship, even though it soon became apparent that Mapplethorpe was obviously homosexual. Patti somewhat naively believed that their love would overcome Robert’s sexual preference, and so began several years of ups and downs. Robert could be incredibly supportive of Patti and her art, but substance abuse and a need for fame could make him neglectful at other times.

The background here is fascinating, as Smith and Mapplethorpe rub elbows with the artists and scenesters of the Chelsea Hotel, Andy Warhol’s Factory, and the pioneering music venue CBGB’s. The story follows the early rise of both friends, then jumps forward a decade and ends poignantly with Robert’s death from AIDS in 1989.

Smith writes with real heart. The prose gets a bit florid at times, but that’s easy to forgive, as is her sometimes naive view of Mapplethorpe, as the author so clearly feels all of the emotions behind her story honestly. This especially shines through on the audiobook. Smith is a clumsy reader, a bit monotone and with funny pronunciations for some words (“drawlings” instead of “drawings”), but she’s so absolutely free of pretense that I found the awkwardness charming and authentic, not off-putting.

Check the WRL catalog for Just Kids

Or try it on audiobook on CD

Read Full Post »

Really the Blues, by Mezz Mezzrow and Buzz White

It’s “Lost in the Stacks” week, and Bud is back with another post:

“Poppa, have you got any idea how a man took to jazz in the early days? Do you know how he spent years watching the droopy chicks in cathouses, listening to his cellmates moaning low behind the bars, digging the riffs the wheels were knocking out when he rode the rods – and then all of a sudden picked up a horn and began to tell the whole story in music? I’m going to explain that.”

So says Milton “Mezz” Mezzrow in the opening chapter of his strange but fascinating autobiography,  Really the Blues. Mezzrow, a white Jewish kid, was born in 1899. A wild child from the beginning, he landed in reform school at the age of 15 where he discovered and became completely enamored of black culture in general and New Orleans jazz in particular. He learned how to play the clarinet and immersed himself in the jazz world of the 1920s, a world that, for him, revolved around three big Ms – musicians, mobsters and marijuana. As the story unfolds we learn a lot about all three.

Really the Blues will appeal to music lovers because Mezzrow knew just about every famous jazz artist of the period. He jammed with Sidney Bechet, Louis Armstrong, Bix Beiderbecke, Bessie Smith, Joe Oliver, Baby Dodds, Gene Krupa and many others. His unadulterated portraits of these talented people and their colorful milieu are fascinating.

The Mob also played a prominent role in Mezz’s life. He worked in some of Al Capone’s road houses, was turned onto opium by a member of Detroit’s vicious Purple Gang, and had Dutch Schulz try to muscle in on his marijuana distribution business.

And, yes, there is marijuana, lots of, as it was referred to in the ‘20s, muta, tea, reefer or muggles (the word pre-dates Harry Potter). In fact, Mezzrow was such a heavy user (a viper) and dealer that in his circle of acquaintances it became known by another slang term–the mezz–and was referenced as such in the song, “If You’re a Viper” by Stuff Smith. The book contains gritty descriptions of the joys and subsequent lows of drug addiction. His four-year stint as an opium addict is particularly grim.

The stories are great, whether or not they’re all true is questionable, but what makes this book distinctive is the style in which it’s written.  As you can tell by the paragraph quoted above, the prose tends to flow like musical cadences and is rife with jazzy slang. This can make for disconcerting reading at first but it soon seems natural and appropriate to the author and what he’s describing.  If you have difficulty with the slang, the back pages contain a helpful glossary.

This is not a book for everyone. It’s a strange, often lurid tale, told in a distinctly unusual manner by an arch iconoclast. If you’re looking for something warm and fuzzy this ain’t it.  But if you have an interest in the history of music or the Chicago underworld or are just in the mood for something really unusual then give Really the Blues a try.  It’s a book you won’t forget.

Check the WRL catalog for Really the Blues

Read Full Post »

La Vie En Rose

I first watched this film not long after its release in 2007 and I come back to it time and again. Like many people my age, I was only familiar with a couple of Édith Piaf’s songs prior to watching La Vie En Rose.  But I was immediately fascinated by this portrayal of the famous French singer, whose voice was often described as the “soul of Paris.”

We first see Édith as a young child on the streets of Paris and then as a frail invalid nearing the end of her life in 1963.  La Vie En Rose is told in a non-linear format and follows two general timelines.  The first follows Édith as she grows up and attains great international fame as a singer, and in the second we see her attempt to recover from two bad car accidents, which left her with an addiction to painkillers, in order to perform one last time.

Abandoned by her mother and father as a very young child, Édith is left to grow up in her grandmother’s brothel and is cared for tenderly by one of the prostitutes, Titine.  But a few years later, her father, a contortionist in a traveling circus, returns to claim her and forces her to join his itinerant lifestyle.  We then meet her again, a few years later, living on the streets of Paris with her friend, Simone, singing for her supper. It is while singing on a street corner that she comes to the attention of Louis Laplée, a cabaret owner.  From this point, the movie charts Édith’s rise to fame under his patronage through the time she spent in New York and California, until her premature death at the age of 47 in the French Riviera.

Piaf’s life had its fair share of trials and triumphs, just as you would expect in any musical biopic, but it is Marion Cotillard’s performance that is the real revelation here.  Marion Cotillard gives the performance of a lifetime as the La Môme Piaf and in fact she won a Best Actress Oscar for the role (the first time an Oscar has been given for a French-language role). But by no means is the character of Édith always sympathetic–her fame and sycophantic hangers-on turn her into something of a monster, spoiled and prone to tantrums.  But at the end, it is the gift of her voice that triumphs.

And what would a film about Edith Piaf be without the music?  It features a long list of classics including “La Vie En Rose” and, of course, her swan song “Non, je ne regrette rien.”  La Vie En Rose is a marvelous film about the remarkable life of one of the twentieth-century’s greatest stars and I highly recommend it.

Check the WRL catalog for La Vie En Rose

Read Full Post »

Reading, Writing, and Arithmetic, by The Sundays

Today’s post is written by Mandy from Circulation Services.

Recently, I’ve been feeling rather nostalgic for music from the ‘90s, no doubt influenced by the number of ‘90s-era singers and bands who are either reuniting or releasing new material.  Earlier this year, The Cranberries released Roses, their first album in 11 years, and this month Garbage will release Not Your Kind of People.  Luscious Jackson reunited last year, and Fiona Apple will release a new album next month.  Come to think of it, No Doubt is scheduled to release an album this year, too.  For my contribution to BFGB this week, I thought it was only fitting to write about a lesser-known band from the ‘90s, The Sundays, and their 1990 debut Reading, Writing and Arithmetic.

From 1990 to 1997, the English band The Sundays released three albums to modest success in the United States and abroad.  The band is often associated with a style of music known as shoegazing, and their sound carries many of the hallmarks of the style: layered vocals against a backdrop of guitars.  The term “shoegazing” comes from the performance style of many of the acts associated with the style; during live performances, the musicians would stand still as if they were looking at their shoes.  Other notable shoegazing bands include Lush and Ride.

Reading, Writing and Arithmetic opens with “Skin & Bones,” a nice introduction to guitarist David Gavurin’s low key style and Harriet Wheeler’s lovely, almost fragile-sounding, vocals.  The next two songs are only singles released from the album, “Here’s Where the Story Ends” and “Can’t Be Sure.”  In “Here’s Where the Story Ends,” Harriet Wheeler looks back on a failed relationship, and sings:

 “It’s that little souvenir of a terrible year

which makes my eyes feel sore,

Oh I never should have said the books that you read

were all I loved you for.”

The remaining tracks continue on in the same stylistic vein, particularly my two favorite songs, “You’re Not the Only One I Know” and “Joy.”  At 10 songs and 40 minutes, Reading, Writing and Arithmetic is light and airy and perfect for spring.  The Sundays quietly faded from public view following the release of their 1997 album “Static & Silence” (which, incidentally, was their highest charting U.S. release), but fans of early ’90s alternative music might enjoy The Sundays, especially their debut.

Check the WRL catalog for Reading, Writing and Arithmetic

Read Full Post »

Barton Hollow, by the Civil Wars

Ain’t going back to Barton Hollow
Devil gonna follow me e’er I go
Won’t do me no good washing in the river
Can’t no preacher man save my soul

I have an unfortunate susceptibility to earworms—those catchy snatches of melody that get stuck in your head for hours on end, sometimes for days. The lines above have been in my head for at least 48 hours now, the latest in a succession of songs from Barton Hollow that have infiltrated my subconscious brain. I’m writing this post in the hopes that by spreading the word about The Civil Wars, I can get them out of my head, and into yours. A musical exorcism, if you will. You’re welcome.

The Civil Wars are a duo: California girl Joy Williams and Alabama native John Paul White. They’re musical partners, not husband and wife, but you might guess otherwise from their close harmonies. They sing together like a long-married couple on the dance floor, melody and harmony swinging each other around with ease. I “discovered” this album a few days before it won a Grammy for Best Folk Album of 2012, so you don’t have to take my word for it!

“C’est La Mort” was the first melody that took root, a lullaby-like tune so sweet and perfect that I was sure I was remembering it, not hearing it for the first time. This one and “Birds of a Feather” are beautiful sweet-sinister love songs, for those moth-to-a-flame relationships, caught between love and destruction. “My Father’s Father” is your train song — gotta have a train song on a country album! — and the harmonies capture perfectly that sound of a far-off lonesome whistle in the middle of the night. The title song, “Barton Hollow” is a great one for wailing along with in the car:

Did that full moon force my hand?
Or that unmarked hundred grand?

“Forget Me Not” is another of those tunes that sounds as though it must have already existed, with a harmony that takes you straight back to Phil and Don Everly’s “Let It Be Me.” Confidential to my (hypothetical) future bridesmaids: you can sing this one at my (hypothetical) future wedding.

Check it out if you enjoy Nickel Creek or the more countrified, traditional songs of the Decemberists. You can download a free live album at their web site.

Check the WRL catalog for Barton Hollow.

Read Full Post »

Finishing the Hat: Collected Lyrics (1954-1981), by Stephen Sondheim

I would like to make you all love Stephen Sondheim as much as I do.

I admit bias. I’m working on my third Sondheim role in three years since returning to the stage. He wrote half the shows I’ve done, and I rarely pass on a production of one of his works. I’ve done Company, Merrily We Roll Along, and now Follies, and Sweeney Todd, A Little Night Music, Assassins, Sunday in the Park with George, Road Show, and Into the Woods are all high on my bucket list of shows I’d love to try. Even people who aren’t theater fans recognize iconic shows like West Side Story and Gypsy, for which Sondheim wrote the lyrics.

But musical theater isn’t everyone’s thing, and even for fans, Sondheim takes work to enjoy: the books for his shows are often dark or satirical without the pat happy endings that many associate with the genre. While his music and lyrics are catchy, he also loves dissonance and uses big words liberally. Performing his music can be a love/hate proposition: Sondheim tests your ear, memory, breathing apparatus, and the muscles of your tongue and jaw to the maximum degree. Performers are warned off auditioning with Sondheim for other shows because the music is notoriously difficult to play, with tricky accompaniments and frequent changes in key and time signature.

Still, it’s hard to find a musical theater afficianado (at least one under 50) who wouldn’t put Sondheim atop the canon. His shows are revived more often than any contemporary and his songs frequently cobbled into new revues. Why?

There’s depth in his work that rewards years of listening, that leaves one finding new pleasures in even the smallest songs, appreciating another level of wordplay in a line that one has heard again and again. His rhymes are perfect and more often than not surprising. Lyrics are stuffed with internal rhymes, clever puns, and interesting ideas, but if one can stay in tempo, they come gracefully off the tongue, always well-matched (or cleverly undermined) by the underlying tune. And Sondheim’s subject matter is much more diverse than the variations on boy-meets-girl that dominate most of the genre.

Which brings me to Sondheim’s lyric collection Finishing the Hat, which collects lyrics from the first half of his career (everything I say here applies equally well to Look I Made a Hat, the second volume which covers work from 1981 to date). These two books are many things: a sort of memoir, a history of modern musical theater, a treatise on the art of songwriting, and a delightful collection of poetry all wrapped up in one package.

This is dense reading that contains not only all the lyrics (including those for numbers that were cut), but his honest opinion about his successes and failures, facsimiles of early drafts of his work, behind-the-scenes production pictures, and perhaps most interesting of all, his notes on each show and his thoughts about other composers and lyricists (those who have died; he assiduously avoids the subject of his living contemporaries).

Unless you’re a huge fan, don’t read this treasure chest from cover to cover. Read the introduction and the lead-in notes to each show, but after that, sample. Just as many re-read Shakespeare before attending a play, you might preview the lyrics of a Sondheim show to help you catch more nuances during the actual performance. Browse through favorite shows or numbers, preferably as you listen to a cast album or watch the film of a production that you checked out on the same library visit. Enjoy the pictures, and watch for sidebars, where Sondheim often has very pointed things to say.

Check the WRL catalog for Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes

Or try Look I Made a Hat: Collected Lyrics (1981-2011)

Read Full Post »

Nick and Norah’s Infinite Playlist

“Would you be my boyfriend for five minutes?”

Nick isn’t cool—he’s neurotic, drives a Yugo, and is pining for his ex-girlfriend, the shallow, man-eating Tris. He leaves long, rambling messages on her cell phone and spends hours making mix CD after mix CD (like “Road to Closure, Vol. 12”), which she throws into the trash, providing music-lover Norah the chance to retrieve them. Norah isn’t cool either—she always plays by the rules and seems to spend most of her time looking after her unreliable friend, Caroline. But a chance encounter and a surprising proposition at a New York City club lead Nick and Norah on an unforgettable journey through the city’s indie music scene. A quest to find their favorite band’s secret show turns into a night they’ll never forget.

But their nocturnal adventures are interrupted by their search for Norah’s party-hard best friend, Caroline (played by the hilarious Ari Graynor). Nick and his band-mates try to help Norah find Caroline before they miss the show, but Nick’s cluelessness very nearly destroys his chance with our “hetero heroine.” However, in a moment of clarity (to the tune of Hot Chocolate’s “You Sexy Thing”), he recognizes his mistake. But is it too late to repair the damage he’s done?

As much as it tells the story of the immediate attraction and growing affection between the leads, the film is also a love song to New York City, as it follows Nick and Norah all over the city that never sleeps from dusk ‘til dawn.

The film stars Michael Cera as the bumbling, awkward Nick and Kat Dennings (currently onscreen in the sitcom Two Broke Girls) as the self-deprecating Norah. This movie is better than your average teen hipster comedy, in part due to the skills of Kat Dennings and Michael Cera, as well as the genuine affection the movie demonstrates for indie music. The lead characters’ mutual passion for music serves as a means of communication and the focal point for their growing attraction. Their attempts at conversation are hilariously awkward and clumsy, so their similar taste in music plays a vital role in their budding romance and attempts to articulate their feelings.

Kat Dennings’ portrayal of Norah’s insecurity is endearing and there are scene-stealing turns by Nick’s ex, the perpetually drunk Caroline, and Nick’s well-meaning, but inept, band-mates. The film is quirky and charming, fueled by a vibrant, contemporary soundtrack and smart, funny dialogue.

Nick and Norah’s Infinite Playlist is based on the young adult novel by Rachel Cohn and David Levithan. WRL also has a copy of the soundtrack, which is well worth listening to for its assorted mix of indie darlings, including Army Navy, Band of Horses, and Vampire Weekend.

Check the WRL catalog for Nick and Norah’s Infinite Playlist.

Read Full Post »

Neighborhoods, by Blink-182

Well, who would have thought it? The Blink boys are all grown up.  “Neighborhoods” is the first album from the SoCal pop/punk trio in eight years and marks a significant shift from their previous albums.  Blink-182 originally grew out of the San Diego punk scene and made their name by taking the edge off punk and making it accessible for the middle of the road.  But “Neighborhoods” is considerably darker than their previous offerings and has something of a pensive quality (not a word I ever thought I would use to describe Blink-182).  The band has clearly evolved and the guys have matured lyrically.  You can still hear the classic, catchy “blink” riffs on many of the songs, but the band has created a new, more adult sound.

The opening track, “Ghost on the Dance Floor” is a poignant song about the death of a friend and sets the tone for the rest of the album:

I saw your ghost tonight
The moment felt so real
If your eyes stay right on mine
My wounds would start to heal…”

“Up All Night” is the first single from the album and I have to admit, it took a while for me to fully appreciate it.  This is not your typical radio-friendly Blink-182 tune, but it is a song that rewards repeated listening.  “After Midnight” is a brooding, almost nostalgic song.  It seems as if the band members are longing for the time in their youth when they could “stagger home after midnight/Sleep arm-in-arm in the stairwell” and “fall apart on the weekend.”  There is a darkness in this song with lines like:

I kind of like the little rush you get
When you’re standing close to death…”

“Snake Charmer” was initially titled “Genesis,” (a nod to the references in the song to Adam and Eve) and is an angry, menacing track about the frustrations of relationships.

That’s how it was to all begin
‘Cause good girls they like to sin
Way back at the starting line
When Eve was on Adam’s mind…”

Another personal favorite is “Wishing Well” – a track full of vivid imagery, with a deceptively bouncy melody and a very catchy chorus.

“Neighborhoods” is certainly the bleakest album Blink has ever produced, and many of the lyrics were obviously influenced by serious events in the band members’ lives during the last decade (drummer Travis Barker nearly died in a 2008 plane crash), but I find the music much more intriguing as a result.  Inevitably, there will be many criticisms from ardent Blink fans about this shift to a more mature style, but the band’s signature sound (characterized by double-time tempos and angsty guitar riffs) is still very much intact.  It has just been enriched by greater lyrical introspection and musical sophistication (such as the pianos on “Kaleidoscope” and the violins on “Ghost on the Dancefloor”).

As a warning, there are some explicit lyrics on this album, and it may not be suitable for children under eighteen.

Check the WRL catalog for Neighborhoods

Read Full Post »

Brothers, by The Black Keys

This is a review about an album by The Black Keys. The name of this album is Brothers.

Without a doubt 2010 was something of a banner year for The Black Keys — a blues-rock duo comprised of singer-guitarist Dan Auerbach and drummer Patrick Carney.  They won four Grammy Awards (including “Best Alternative Album”), Spin magazine named The Black Keys their “Artist of the Year,” and they spent the year touring the world, opening for Kings of Leon and headlining at concerts like Bonnaroo and Coachella.  All of this buzz was triggered largely by the May release of their sixth album, Brothers, which Rolling Stone named their second favorite album of 2010.

The Black Keys have admittedly been around for a while, but it wasn’t until the release of this album that they started to get some significant airtime.  The Keys play a version of electric Mississippi blues fused with psychedelic sixties rock, but with a pop twist.  On this album, they have shifted away from more basement blues-rock into spookier, swampier territory, although they haven’t lost their do-it-yourself sound.  With little more than Auerbach’s guitar and Carney’s drums they manage to paint a picture of sweaty honky tonks, the stifling, oppressive heat of southern summers, and steamy bayous.  In truth, their music would not be out of place on an episode of True Blood and the song “She’s Long Gone” was used to promote the second season of Swamp People on the History Channel.

The album opens with the slow, sultry groove of “Everlasting Light.”  Auerbach sings in falsetto, and although it is a simple song in melodic and lyrical terms, it is remarkably powerful, as the persistent, pulsing rhythm mirrors the lyrics:

A train going away from pain
Love is the coal
That makes this train roll…”

When you hear “Tighten Up” – the first single from the album – you could be forgiven for thinking the lead singer is a reincarnation of a blues legend from the sixties, instead of a small, bearded white guy from Akron, Ohio, so intense and soulful is his voice.  The second single – “Howlin’ For You” – is a raw, raucous track that opens with a beat ripped straight from Gary Glitter’s “Rock and Roll Pt. 2.”  Auerbach really manages to makes his electric guitar sing on “Next Girl” – a funky, smoldering song about regretting past relationships:

My next girl
Will be nothing like my ex girl
I made mistakes back then
I’ll never do it again…”

The track “Unknown Brother” calls to mind the Hollies’ 1969 hit “He Ain’t Heavy, He’s My Brother” and the guys channel sixties soul on the Jerry Butler cover “Never Gonna Give You Up.”  The Keys mark the halfway point on the album with the instrumental piece “Black Mud” – a song inhabited by quivering guitars and wailing organs, which reminds me strongly of The Animals.

Brothers is a dirty, earthy album.  The driving power of the music feels like a gathering thunderstorm, creating a sound that is full of atmosphere and menace.  The Black Keys will appeal to any fans of the White Stripes, the Raconteurs, and old blues legends.  In fact, the Black Keys are a band you may find yourself playing the sound-alike game with, but despite the many and varied influences you’ll spot, they have a very distinctive sound, as each track shakes with swampy fury and raw blues power.

Check the WRL catalog for Brothers.

Read Full Post »

This is Spinal Tap

Mandy Malone from Circulation Services provides this review:

The year is 1982. The members of the British heavy metal band Spinal Tap–Nigel Tufnel, David St. Hubbins and Derek Smalls–have reunited and recorded a comeback album titled ‘Smell the Glove’. Marty DiBergi, a television commercial director and longtime Spinal Tap fan, is on hand to film the events surrounding the album’s release and accompanying tour for the documentary, or ‘rockumentary’ as DiBergi calls it, This is Spinal Tap.

At this point in my review, I should issue a message of caution: music fans who have never heard of Spinal Tap shouldn’t rush out and scour the WRL catalog for the album. It doesn’t exist. Originally released in 1984, This is Spinal Tap is in reality a brilliant and hilarious parody of the heavy metal genre starring Christopher Guest as Nigel Tufnel, Michael McKean as David St. Hubbins and Harry Shearer as Derek Smalls. Marty DiBergi is played by Rob Reiner, who also directed the film.

In true documentary style, DiBergi follows Spinal Tap from England to America as he offers a no-holds-barred look at the history of the band and their promotional work for the new album. In candid interviews, the band members discuss Tufnel and St. Hubbins’ childhood friendship, early incarnations of the band called the Originals and the Thamesmen, and the untimely deaths of all their drummers. Along the way, Spinal Tap’s comeback is met with several potential setbacks: their record company hates the album’s cover art; at one venue, the band members get lost backstage; and a Stonehenge-themed performance goes awry when the key prop fails to measure up to expectations. Throughout the film, the band’s indefatigable optimism remains intact, even when it looks like the comeback is in danger of falling apart.

This is Spinal Tap does a great job of spoofing the pretensions and excesses of the heavy metal genre without being mean-spirited. Much of the credit for this goes to the stars of the film. They are also responsible for developing the concept of the film and writing the screenplay, and I think they created a group of memorable, well-developed characters. The members of Spinal Tap are so likable and sincere, if a little misguided at times, that you can’t help but root for them to succeed in their quixotic quest to reclaim their former glory.

In the years since the release of This is Spinal Tap, Christopher Guest has gone on to write and direct several other successful documentary-style parodies including Waiting for Guffman, Best in Show and A Mighty Wind.

Check the WRL catalog for This is Spinal Tap

Read Full Post »

The ’59 Sound and American Slang, by The Gaslight Anthem

What do you get if you mix Bruce Springsteen, the Replacements, a little Tom Petty, Billy Joel, Bob Seger, a splash of Motown and a dash of the Clash?  How about The Gaslight Anthem – a New Jersey punk band with a fervent love for classic rock and soul icons, but with a sound uniquely their own. Although The Gaslight Anthem is signed to the punk label SideOneDummy, the band’s sound is only kind of punk. In truth, they are more like a souped up version of early Springsteen.

The ’59 Sound and American Slang are the group’s second and third albums and frankly, when trying to decide which album to review, I couldn’t pick a favorite. Whilst the band’s soulful punk sound can be heard in both albums, each one is very different. The ’59 Sound has echoes of Motown, owes more to old-fashioned rock ‘n’ roll, and doesn’t stint on the nostalgia – reflected in titles like “Miles Davis & the Cool,” “Old White Lincoln,” and “High Lonesome.” On the other hand, American Slang is a more contemporary album, with a little more edge, and features more well-defined choruses. Listening to both albums allows you to clearly see the band’s evolution as they go from strength to strength.

The heart and soul of the band is, without a doubt, the lead singer and guitarist Brian Fallon. His raw, soulful voice resonates against the band’s dynamic force.  True, he is not the most technically perfect singer you’ve ever heard, but there is a passion, an authenticity in his raspy voice. You can hear every dive bar he’s ever sung in, every heartbreak, every morning after the night before. His voice is perfect in its imperfections.

By far and away the greatest influence on the Gaslight Anthem is the Boss – you can hear it in the stories of working-class joes, the big beer-soaked choruses and furious guitar. Lead singer Brian Fallon grew up a mere four blocks from E Street and his unrefined sound and heartbreaking earnestness recall the Boss’ glory days of, well, “Glory Days” and “Born to Run.”

The Gaslight Anthem have written some superb, sweeping working-class anthems that would make Bruce proud – most notably the haunting, gut-wrenching “We Did It When We Were Young,” which is the final song on American Slang. It starts softly but builds to a rousing, anthemic climax that leaves you almost breathless. But the band has a special talent for more intimate acoustic pieces like “Here’s Lookin’ At You, Kid” – a song that could reasonably be described as a 21^st-century version of Frank Sinatra’s classic “It Was A Very Good Year,” as Brian Fallon recalls the various women he has loved throughout his life.

The band gave The ’59 Sound a scratchy record sound, as they sing of diners, cowboy boots, Elvis, and “hitching rides with strangers.” The opening track, “Great Expectations,” is a fast-paced song where the cynical, world-weary lyrics are counterbalanced perfectly by the melody and Fallon’s fierce, defiant vocals (“Everybody leaves, so why wouldn’t you?”). The album closes with “The Backseat” – a rousing anthem that has always been their traditional set closer.

Everything that was great about The ’59 Sound is present on American Slang, but the sound is even bigger and more epic. There are noticeable improvements in the production and the musical arrangements, which have greater depth and texture.

This album is a more grown-up offering. The songs “Bring It On,” “Stay Lucky,” and “Boxer” are about being true to yourself and standing your ground. They rail against the definition of self by others, and Fallon’s vocals are astonishingly powerful.

If you enjoy these albums, make sure you don’t miss their first album (Sink or Swim) and the too-short EP Senor and the Queen, which features the song “Blue Jeans and White T-Shirts” – a stirring song that seems to sum up everything the Gaslight Anthem is about:

“We like our choruses sung together
We like our arms in our brothers’ arms
And we sing with our heroes thirty-three rounds per minute
We’re never going home until the sun says we’re finished
And I’ll love you forever if I ever love at all
Wild hearts, blue jeans and white T-shirts…”

Check the WRL catalog for The ’59 Sound.
Check the WRL catalog for American Slang.

Read Full Post »

Flight of the Conchords, by Flight of the Conchords

The Flight of the Conchords proudly announce themselves as “New Zealand’s 4th most popular guitar-based digi-bongo acapella-rap-funk-comedy folk duo.” They are quirky, offbeat, more than a little strange, and very talented. The Conchords – otherwise known as Jemaine Clement and Bret McKenzie – are a comedy duo from New Zealand and played fictionalized versions of themselves in their hugely successful HBO series. All of the songs on their first full-length album are taken from the first season. On the TV show, the Conchords are, well, less than talented – except in their own imaginations. Whenever they are able to land themselves a gig, the best they can do is limp their way through the feeble “Who Likes to Rock the Party?” But in their own minds, they’re musical superstars – dangerous rappers, irresistible ladykillers, and folk heroes.

The tracks cover a huge range from rap to glam rock to soul to French pop. “Inner City Pressure” mimics the Pet Shop Boys and is an obvious parody of “West End Girls.” This witty, clever track is followed by the laugh-out-loud funny “Hiphopopotamus vs. Rhymenoceros (feat. Rhymenoceros and the Hiphopopotamus).” The lyrics are absolutely ridiculous and hilariously lame:

“Other rappers diss me
Say my rhymes are sissy
Because I rap about reality
Like me and my grandma drinking a cup of tea
Ain’t no party like my nana’s tea party
Hey! Ho!”

“Think About It” satirizes cheesy human rights songs from the 1970s by artists like Marvin Gaye, and “Mutha’uckas” makes fun of overly-censored rap music. Musically, you could be forgiven for thinking that “Robots” had been written in the 80s. This sci-fi song takes place in “the distant future – the year 2000,” after the robotic uprising of the mid-90s, when robots killed all the humans and took over the world. (I know, I know, but just trust me and listen to it. I dare you not to laugh.)

Jemaine sings the lead on the track, “Business Time,” a particularly successful parody of Barry White. Jemaine’s voice is deep enough that he can pay homage to Barry White’s mumbling-bedroom-talk-style on the one hand, while poking fun on the other. But hands down the best song on the album, in my opinion, is the penultimate track, “Bowie.” Brett and Jemaine are pitch-perfect in their imitation of the legend. Several Bowie songs get the Conchord treatment on this track, including “Space Oddity” and “Let’s Dance.”

Admittedly, some favorites from the TV show are missing from the album, most notably “Who Wants to Rock the Party?” and the Lord of the Rings sequence “Frodo, Don’t Wear the Ring.” (They’re from New Zealand – there was no way they were going to pass that one up.) But all humor aside, this is a really good, solid album. Comedy albums rarely stand up to repeated listening, but Flight of the Conchords is the exception that proves the rule.

Check the WRL catalog for Flight of the Conchords.

Read Full Post »

Science & Faith, by The Script

The Script first came to my attention with their hugely successful single “Breakeven” from their debut self-titled album. “Breakeven” was one of those rare songs that I loved from the first time I heard it. So I was excited to listen to their sophomore effort, which was released in January here in the States, and to see how it compared to their debut album, which has enjoyed huge worldwide success. Fortunately, all the best things from their first album are still there – the anthemic choruses, the blend of hip hop rhythms with emotive storytelling lyrics, and the lead singer’s soulful vocals soaring above it all.

Science & Faith was written and produced by lead singer Danny O’Donoghue and guitarist Mark Sheehan and recorded in both London and Dublin. For the second time, the duo have managed to craft an album filled with emotion-packed songs and flowing melodies, influenced by their love for pop, rock, soul, and hip hop. There are more than a few similarities to bands like The Fray, Lifehouse, and especially OneRepublic, but The Script’s use of hip hop and R’n’B rhythms sets them apart. American soul music was one of The Script’s most significant influences. It played an important role in O’Donoghue and Sheehan’s musical upbringing and makes for an appealing twist to the usual pop formula. The heavy use of pianos throughout the album also reveals how much The Script owes to the English band Keane (“Somewhere Only We Know”).

In addition to O’Donoghue and Sheehan, the Script is comprised of drummer Glen Power, and all three are, as you may have guessed, Irish. What intrigued me most at first is that their lyrics reflect this – the band hasn’t fallen into the trap of Americanizing their lyrics. They sing about their “mates” taking them to their “local down the street,” standing in line at the “dole,” and “leaving the kettle on” for a lover who’s left. In addition, they unashamedly sing about getting drunk to forget old girlfriends and about the almost irresistible modern temptation of drunk dialing.

“For the First Time” is the first single from the album and, I have to say, who knew a song about economic depression could be so good? The song was an instant success because the subject matter resonated immediately with people around the world:

“She needs me now, but I can’t seem to find the time
I’ve got a new job now on the unemployment line
….Trying to make it work but man these times are hard…”

The heartbreaking track, “Nothing,” a post-break-up number, is one that I think many people will find themselves relating to. The song rings with painful truth and is far and away my favorite song on the album. The lyrics are achingly beautiful as they recount this tale of heartbreak:

“I’m swearing if I go there now
I can change her mind turn it all around
And I know that I’m drunk but I’ll say the words
And she’ll listen this time even though they’re slurred
Dialed her number and confessed to her
I’m still in love but all I heard was nothing.”

“If You Ever Come Back” is a song about continuing to love someone who’s addicted. Although the subject matter is bleak, the overall message is one of forgiveness and acceptance. The very catchy chorus and upbeat melody help to reinforce this. Other highlights from the album include the dramatic “Exit Wounds” and “Walk Away,” a darker song lyrically than anything else on the album which also features the rapper B.o.B.

Aside from the catchy choruses, O’Donoghue’s energetic vocals, and the radio-friendly riffs, the strength of Science & Faith ultimately lies in its very contemporary nature, both musically and lyrically.

Check the WRL catalog for Science & Faith.

Read Full Post »

Emotionalism, by the Avett Brothers

Now, as they say, for something completely different.  Emotionalism is the tenth album by southern musicians, The Avett Brothers. The Avett Brothers formed in 2001 in Charlotte, North Carolina, when banjoist Scott Avett and guitarist Seth Avett joined forces with bassist Bob Crawford. Their sound can best be described as a blending of country, bluegrass, folk, and alternative rock. Their music is also low on technological wizardry, so what you hear on the album is pretty much what you could expect to hear live (a rare claim in music these days).

Emotionalism encompasses traditional themes of love, sorrow, and tribulation and features many of the qualities typical of traditional American music, from the emphasis on storytelling to the old-fashioned instruments and the use of harmonic vocals. The album is populated with acoustic guitars, pianos, and banjos which complement the earnestness of the lyrics and the vocals. Listeners will be intrigued by the variety of melodies on the album, sometimes even within the same song, as well as the use of silence. Each song very much has its own character and its own story.

On “Shame,” the brothers take turns singing – a feature common in bluegrass music. The vocals are the dominant sound throughout the track and are very much an instrument in their own right. The brotherly harmonies are powerful and you can’t help but be reminded of other talented and successful brotherly acts, such as the Beach Boys and the Everly Brothers.

“The Weight of Lies” is a melancholic ballad with a chorus that you may find yourself singing at odd, unexpected moments:

“The weight of lies will bring you down
And follow you to every town
Cause nothing happens here that doesn’t happen there
So when you run make sure you run
To something and not away from
Cause lies don’t need an aeroplane to chase you anywhere.”

“Will You Return?” is a much more upbeat, bouncier tune that finds itself bracketed by two more somber songs. Other highlights on the record include “Salina,” “Living of Love,” and “Go to Sleep.”

There is a charming sincerity in the way the brothers sing and there is substance to these songs, despite their deceptively simple and mostly acoustic arrangements. They have created a record that is both intense yet carefree at the same time, jaunty and introspective. Although the album may be a few songs too long for some listeners, any fans of the hugely successful Mumford & Sons will find a great deal to appreciate and enjoy on this album.

Check the WRL catalog for Emotionalism.

Read Full Post »

Lights, by Ellie Goulding

It seemed like Ellie Goulding’s name was on every British DJ’s lips in 2010 – she topped the BBC Sound of 2010 poll and also won the Critics’ Choice Award at the 2010 BRIT Awards (previously won by Florence + the Machine and Adele). Her debut album, Lights, was nominated for two 2011 BRIT Awards and was the biggest and fastest selling debut album of the year.

Given all the hype surrounding the CD, I was wary and a little less than optimistic – too much hype is more often a curse than a blessing to an emerging artist. But when I finally checked out her album I found myself charmed by her fey little voice and intrigued by the sparkling electro-folk-pop sound. To give you some idea, Ellie Goulding’s “pixie-like voice” sounds a little like Bjork (though the music is more mainstream and not quite as bizarre), a little like Dido (though much more upbeat), a little like Lily Allen (though much less moody), and a little like Kate Bush (though not as mature).  She sings in a tremulous, almost child-like soprano that lends an unexpected tenderness to lines like “I’ll tie you in my arms, I will smother you/We’ll tell each other lies like we tell the truth…”

The album opens with the title track “Lights” – a vibrant, pulsating, kaleidoscopic song. “Starry-Eyed” – the first US single and the third track on the album – is euphoric, with an infectious chorus and explosion of twinkling sounds. This fast-paced, frenetic track is followed by the wistful, haunting ballad “This Love (Will Be Your Downfall).” “This Love” is, in my opinion, the album’s greatest triumph apart from its singles. The song is a warning of the costs of being in a relationship, and its appeal comes primarily from its ambiguity. She is singing to her lover as much as she is singing to herself. “This love is be and end all / This love will be your downfall,” she warns.

“The Writer” is an affecting song about a “girl unobserved” changing herself, and being changed, by her relationship:

“You change your position

And you are changing me

Casting these shadows

Where they shouldn’t be.”

Using more traditional instruments in this piece (the song heavily features pianos and drums) and reducing the use of electronic devices lends this song a greater feeling of sincerity and poignancy. She follows this emotive number with “Animal” – a visceral, pumping number that revels in the feverish state of falling in love for the first time.

“Your Biggest Mistake” – another one of the album’s strongest offerings – features a spectacular combination of synthesizers, strings, and vocal layering. As a consequence it has one of the most dramatic and powerful melodies on the album. Lights closes with “Your Song”- a melancholic cover of Elton John’s classic. I was surprised to find this track included on an album that is so modern and contemporary, but Ellie’s voice suits the folky and troubadour-like lyrics wonderfully.

With only ten tracks, this album can easily be listened to and enjoyed in its entirety, and I certainly never felt the compulsion to skip from one hit single to another. Admittedly, Lights sometimes lacks the dramatic crash and bang of Florence + the Machine’s Lungs, but Ellie’s strength lies in the softness of her voice. There is an intimacy in her lyrics and in the timbre of voice that invites you to come closer.

Overall, Lights is a bright, buoyant album that effortlessly blends the genuine, earnest emotion of folk music with the other-worldly atmospherics of synth-pop. The album is vulnerable, tender, fierce, and exciting.

Check the WRL catalog for Lights.

Read Full Post »

Classical Destinations: An Armchair Guide to Classical Music, by Matt Wills

This companion guide to the excellent DVD series by the same name presents so much new information about the great classical composers and the places where they lived that I thought it deserved its own post here on BFGB.

One of the first things you will notice about this book are the hundreds of beautiful and sometimes stunning photographs of Wendy McDougall. Her pics of indoor concert halls and palaces (like the Hermitage in St. Petersburg) are just as impressive as her panoramic pics, like those of the Norwegian fjords and the old city of Prague.  I was especially taken by her photograph of the Church of the Saviour on the Spilled Blood in St. Petersburg, where you can see many of the ornate details of a Russian orthodox church, so different from the churches you see in Western Europe. Her many fine pictures go well with the HD images in the series and make this book an excellent choice for a coffee-table book.

The book also serves as an excellent source of travel information about these destinations.  Every destination city has a “City at a Glance” section with many of the same features that you will find in hundreds of other travel guides, features like climate, top 5 tourist attractions, and popular shopping locations. But what makes it unique is its emphasis on classical music. It has a “Composers” section that lists the composers who lived and worked in that city (Vienna and St. Petersburg tie for the most composers who lived in their city, with 14 each).  It also has a list of composer museums/ homes that you can visit in the city.

Most importantly for the traveler, though, is a list of annual musical events held in that city, with a brief description of each event, time of year it is held, and the event website where you can go to get more information. It’s too late if you want to attend the world famous Salzburg Festival, a tribute to the music of Mozart which is held in July and August of every year. But it’s not too early to plan to see Salzburg’s Mozart Week, held in January, when it can be cold and snowy in Salzburg.

One of my favorite features of the City at a Glance section is the “Top 2 Coffee Houses” feature. The Café Tomaselli is one of the top 2 in Salzburg, though be forewarned, Mozart often went there and complained on more than one occasion about the quality of the coffee. But the authors insist that the quality of the coffee has improved considerably since then, and the café is now one of the best in Salzburg. Drinking coffee and hanging out in coffee shops was a popular pastime, as many composers besides Mozart frequented them. Johann Sebastian Bach liked his daily cup of joe so much that he composed one of his very few secular cantatas in praise of the beverage and, not surprisingly, called it the “Coffee Cantata.” It is one of my all time favorite choral pieces (think of it as Bach in a good mood) and it is definitely worth seeking out.

The book also has a useful “Composer at a Glance” feature that highlights the lives of 16 composers mentioned in the DVD series.  It includes basic biographical information and mentions some of their greatest musical works. It highlights some of the challenges they had to face in their lives; many of them, like Mozart and Vivaldi, had extreme financial challenges; others, like Grieg, Schubert, and Beethoven, had to cope with severe health problems.

The book, written by Matt Wills, one of the co-hosts of the DVD series, serves as an excellent introduction to the world of classical music. Its combination of high-quality photographs with highly relevant information about these classical destinations and composers make it a very useful resource to those interested in classical music, and it is an excellent companion guide to the Classical Destinations DVD series.

If you want to hear some of the music mentioned in the book and DVD, you should listen to the companion Classical Destinations album, a 2-CD set of 24 pieces of music with over 2 ½ hours of music. It includes the wonderful Classical Destinations theme tune by Terracini played by the incredibly talented violinist and series co-host, Niki Vasilakis. The music of 17 of the great classical composers is arranged by region and includes many gems of the classical repertoire, including Mozart’s beautiful “Ave verum corpus,” the Largo movement from Dvorak’s “New World” symphony, and a rousing rendition of Sibelius’ Finlandia.

Check the WRL catalog for Classical Destinations: An Armchair Guide to Classical Music.

Read Full Post »

Classical Destinations: An Armchair Guide to Classical Music (2007)

Anyone with an interest in classical music must see this amazing travelogue, which explores some of Europe’s most beautiful cities and the composers whose lives and music had such a great impact upon them.  It includes 13 episodes (5 ½ hours total time) with over 14 major destinations, including my favorites, Salzburg, Vienna, Prague, and Venice. It features many well-known composers, like Mozart, Bach, Beethoven, Tchaikovsky, and Vivaldi as well as some lesser-known composers, like Sibelius and Shostakovich.

Classical Destinations takes you on a grand tour of the places and the music that made these composers famous. The places include many of the famous buildings and landmarks of Europe where these composers lived and worked, including St. Mark’s Square in Venice, the Schönbrunn palace in Vienna, and the Old Town of Prague. You are also taken on a tour of some of the most beautiful landscapes of Europe, like the fjords in Norway and the Moldau River in the Czech Republic that inspired composers like Grieg and Smetana to compose some of their greatest music.

The music, of course, is glorious, and it is infused throughout the tour. When you visit St. Mark’s Square, you are treated to an excerpt of Monteverdi’s Vespro della Beata Vergine and Vivaldi’s “La Primavera:” Concerto for Violin and Strings in E Major. When you tour Vienna, which was the music and cultural capital of the world for hundreds of years, you will get to hear music from several great composers who made Vienna their home, like Mozart, Brahms, Schubert, and Mahler.

Classical Destinations is narrated by the actor Simon Callow, with help from Matt Wills and Niki Vasilakis. Niki plays the violin part in the wonderful Classical Destinations theme tune and also plays her violin at many of the destinations. The series was filmed in HD (high-definition) quality video, so the picture and the sound are top quality.

I loved this travelogue and I hope you will take the time to watch, listen, and experience these classical destinations. My only regret is that it did not cover more of the great destinations of Europe, particularly Paris, where many of the great French composers like Berlioz and Saint-Saens lived and worked. Hopefully there will be a Classical Destinations 2 sometime in the near future. But this one is an excellent introduction to the world of classical music. Highly recommended.

Check the WRL catalog for Classical Destinations.

Read Full Post »

Release Me, by The Like

First of all, a note of warning: this CD is very, very catchy.  So if you don’t want to find yourself humming these songs at work one day, I suggest you read no further.

If however you are not averse to making a fool of yourself humming away while standing at the photocopier as your boss walks past, may I introduce The Like?  Release Me is the sophomore album from the LA-based quartet, featuring Z Berg, Tennessee Thomas, Laena Geronimo and Annie Monroe.  The latest offering from this energetic, indie outfit was produced by Mark Ronson, the so-called “king of kitsch.”  The album is a trip back in time to the 60s, girl groups, go-go boots, Twiggy and the British invasion.  On this retro-chic album, The Like has created a sound that channels girl groups like the Shangri-Las, the Crystals or the Ronettes, but there are also echoes of Procul Harem and The Animals, in the heavy bass and wailing organ.  It’s all very mod, with Brit-pop guitar riffs, hand claps, shouting and bouncy beats.

The Like is full of pep, energy and, for lack of a better word, venom.  “Wishing He Was Dead,” the first song on the album opens with the line:

If I could kick his head in, fickle little boyfriend, I’d be satisfied,/ If I could smack some sense into his senses, I might feel alright…”

The husky, smoky voice of the lead singer, Z Berg, is captivating and her “butter wouldn’t melt” sound often belies the ferocity of the lyrics.  While most of the CD is dedicated to that perennial musical favorite, boy trouble, “Narcissus in a Red Dress” is dedicated to “the female of the species,” and is a slower, more menacing song:

One minute she’s your best friend, then you watch her take your place…”

But although their distinctive sound is a blast from the past, the lyrics and subject matter are not always quite so nostalgic.  “Walk of Shame,” one of the album’s highlights, is all about the morning after the night before:

Takes a flash to figure it out/But in your memory you might find some holes/Like the last 6 hours/That made you realize you’re sleeping on the floor…/Time to do the walk of shame/Hide your face, the night was calling…”

Release Me is one of the few albums I have listened to recently where I don’t find myself continually skipping to just one or two favorite songs.  I will listen to this album from beginning to end.  On the whole, the songs are short and snappy, and are perfect for my short attention span when it comes to music.  Before I can even think of getting bored, bam!  They’re on to the next song.  This album will appeal to anyone who enjoys listening to Duffy, Amy Winehouse or Adele. If you’re feeling like a little twist ‘n’ shout, I highly recommend The Like.

Check the WRL catalog for Release Me

Read Full Post »