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Thursday, March 12, 2009

29 in 2009 - Bob Dylan: Highway 61 Revisited



Bob Dylan: Highway 61 Revisited
Originally Released: August 30, 1965
Genres: Rock, Folk, Blues
Rating: 9 out of 10 Stars

It's strange, the preconceived notions that we have about certain artists; how one song that doesn't "rub us the right way" can leave a sour taste that lasts for years. For me, this has always been my gut reaction to Bob Dylan. Yes, he's one of the most highly-revered artists of all time - probably the most, actually. And yet every time someone told me to listen to "this Dylan song" or to check out "this Dylan album," my response was usually a polite "No thanks."

Going into this listen of Highway 61 Revisited, I knew that what I was going to be listening to was influential and important, and I tried my best to set that knowledge aside and to just focus on the music. So I did, mostly. To my surprise, I generally loved every single moment of this album. "Like a Rolling Stone" is easily the most famous song on the album, and for good reason. It's at once the most catchy and poignant song on the record, probably of the decade, possibly of Dylan's career. Rolling Stone named it the #1 Song of All Time! While I'm not about to jump on that bandwagon just yet (primarily because Outkast's "Hey Ya" was in the Top 100 on that same list), I'll admit that it is awesome and leave it at that for now.

Other than that song, the only other track that I was familiar with beforehand was "Ballad of a Thin Man," and only then because The Grass Roots (best pop band ever?) had covered the song early in the band's mixed-up history. Both versions have their merits, though this version is clearly the more suitable of the two. There's also that one line from "Desolation Row" that was in Alan Moore's Watchmen (odd coincidence that I'm just now getting to this album, isn't it?) that I was previously familiar with. Other than that, the sad fact is that I was a complete newcomer to this album.

Dylan's lyrics are...odd. Everybody knows this - Demetri Martin pretty much rips into him every week with his folk singer sketches. If there was anything to criticize on Highway 61, that would be it. Still, I get the feeling that the real Dylan fans have spent their entire lives trying to decipher his lyrics to apply meaning to them. My dad took an English class at Rice University in the 70s where the professor spent the entire semester playing Dylan songs and having the students interpret their lyrics. They don't mean a damn thing to me, though, and that makes it perhaps a more difficult listen that it would've been otherwise.

Even with that, however, it's rare that an album comes along that defines not only a decade, but a generation. Highway 61 Revisited, may just be that album. It takes a genius to be able to dissect and define a culture in the way that Bob Dylan does on this album, and "genius" may be an understatement. I don't really know what else to write. I like it a lot. A whole lot. I'm going to go listen to more of it!

Verdict: Classic

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Saturday, March 07, 2009

Spring Break Road Trip 2009

I generally approach the road trip playlist with a particular method. There are, to me, three essential types of music that need to be heard on the road (Indeed, some music is simply better on the road). These three types of music are:

- Americana-eque, upbeat, folk-country, indie music. Henceforth referred to as “Type A.”
- Solemn, introspective, sometimes-sad, but personally helpful music. Best listened to alone. Henceforth referred to as “Type B”
- Upbeat, sing-along, pop music ranging from beach pop to indie pop. Henceforth referred to as “Type C”

There is a pattern to when I make a playlist, and it usually involves rotating the three types of music, and interspersing them with “Wild Card” songs from genres like rock, hip hop, R&B, or 80s pop. Another thing that really matters to me is albums. If I’m on a long road trip, I tend to listen to full albums rather than setting the iPod to shuffle and letting it run wild. Granted, there are times when this is acceptable, appropriate even, but for the most part, I enjoy solid albums on the road.

With that in mind, here is my recommended road trip playlist for Spring Break 2009. At the bottom of this playlist are several recommendations for substitutions should you find a particular album disagreeable.

Road Trip 2009


Stage One: You have just left your city, town, or college campus to embark on a journey across America. Make your phone calls now. Reception will be hit or miss the rest of the way. This is an exciting journey, and you will need some music to get you pumped up for the long journey ahead. Might I suggest a wild card to start this whole thing off?

Recommended Wild Card Album – Our Lady Peace:
Happiness is not a Fish that You Can Catch

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Stage Two: You’ve now been on the road for about 45 minutes and unless you live near the Eastern Seaboard, you’re far removed from any metropolitan area. Time to get the rotation started. Start with your Type A, follow it with a Type B, and then with a Type C. Here are my recommendations:

Recommended Type A Album – Band of Horses: Cease to Begin
Recommended Type B Album – Loney, Dear: Dear John
Recommended Type C Album – Pop Levi:
Never Never Love

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Stage Three: Two to three hours have passed now, and if you’re lucky you’ve already reached your destination. But what if you’ve still got several hours to go? Let’s mix it up to keep things interesting.

Recommended Wild Card Mix – The Killers – Now you may not like The Killers, and that’s perfectly understandable. If you don’t, substitute them for another selection from below. If you’re down for some Brandon Flowers action, however, play the following mix or, if your options are limited, just the album Hot Fuss.

1. “Jenny Was a Friend of Mine”
2.“Mr. Brightside”
3. “Change Your Mind”
4. “Human”
5. “When You Were Young”
6. “Somebody Told Me”
7. “Midnight Show”
8. “Spaceman”
9. “Everything Will Be Alright”

Recommended Type A Album – Sufjan Stevens:
Illinois
Recommended Type B Mix
1. A.C. Newman – “Take On Me”
2. Jaymay – “Sycamore Down”
3. Bright Eyes – “Land Locked Blues”
4. The Elected – “Sun, Sun, Sun”
5. The Shins – “A Comet Appears”

Recommended Type C Album – The Postal Service:
Give Up
Recommended Type A Album – Conor Oberst:
Conor Oberst
Recommended Type B Album – Nick Drake:
Pink Moon
Recommended Wild Card Album – The Mars Volta: Frances the Mute

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Stage Four: For all intents and purposes, you should be entering the final phase of your road trip. This is where things start to get exciting again. The music should reflect that, right? Of course it should!

Recommended Type C Album – Rooney: Rooney
Recommended Wild Card Album – The Streets: The Hardest Way to Make an Easy Living
Recommended Wild Card Mix – This is the final stretch, folks. Roll down the window and smell the sweet beach air, growing more and more potent by the minute. Play this mix:

1. Amadou & Mariam – “Magosa”
2. The Bird and the Bee – “Love Letter to Japan”
3. Wham! – “Wake Me Up Before You Go Go”
4. MGMT – “Kids”
5. Wallpaper – “The Remix”
6. CSS – “Move”
7. Apples in Stereo – “Same Old Drag”
8. Beck – “Hell Yes”
9. Gorillaz – “Feel Good Inc.”
10. Crystal Castles – “Courtship Date”
11. George Harrison – “Got My Mind Set on You”
12. Talking Heads – “Once In a Lifetime”
13. The Lonely Island – “Jizz in my Pants”
14. K–Os – “FlyPaper”
15. Of Montreal – “Id Engager”

This mix is really going to vary based on your own personal preferences. Play music that gets you amped up and feel free to mix around the songs. Just be sure to end your road trip with a good mix rather than a single album. Also, try to keep “Id Engager” as the final song of your trip. Play it as soon as you pull into your destination. It’s always a good one!

So that should do it: the perfect playlist for your 10 hour road trip! As always, feel free to mix up the albums to suit your needs. Just keep the pattern in tact and you should have an enjoyable road trip, filled with the ups and downs of life (le gay). Should you want more recommendations, here you go:

Type A
Bob Dylan:
Highway 61 Revisited
Bright Eyes: Cassadaga
Built to Spill:
Keep it Like a Secret
Death Cab for Cutie:
Plans
The Decemberists:
The Crane Wife
Eagles:
Hotel California
Fleet Foxes: Fleet Foxes
Headlights:
Kill Them With Kindness
The Honorary Title: Anything Else but the Truth
Loney, Dear:
Loney, Noir
Midlake:
The Trials of Van Occupanther
Plants and Animals: Parc Avenue
Rogue Wave:
Out of the Shadow
The Shins: Chutes Too Narrow
The Wrens: The Meadowlands

Type B
The Notwist: Neon Golden
Radiohead: Kid A
Sigur Ros: ( )
Slint: Spiderland
Sufjan Stevens:
Seven Swans

Type C
Fiona Apple:
Extraordinary Machine
Architecture in Helsinki:
Places Like This
The Bird and the Bee:
Ray Guns are Not Just the Future
Death Cab for Cutie:
Narrow Stairs
Elton John: Goodbye Yellow Brick Road
Lily Allen: It’s Not Me, It’s You (Songs 1 – 5)
Mates of State:
Re-Arrange Us
Metric:
Old World Underground, Where Are You Now?
Of Montreal: Satanic Panic in the Attic
The Unicorns: Who Will Cut Our Hair When We’re Gone
Wallpaper: T.Rex EP

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Sunday, March 01, 2009

Get Cursive's New Album on the Cheap!


Anybody who has been a longtime reader of Audio Overflow knows two things about me:

  1. I'm a big fan of the band Cursive.
  2. I'm not a big fan of digital media.
Saddle Creek is quickly changing my mind, however, as they're currently offering up Cursive's new album, Mama, I'm Swollen, for the ludicrous price of $1. As always, there's a catch. Here's what the company has to say:
As of today, March 1st, Mama, I'm Swollen in MP3 format is available for $1
exclusively in the Saddle Creek Online Store.
On March 2nd, it will be $2
March 3rd, $3
March 4th, $4
etc, etc
until March 10th when the record hits the shelves, at which point the MP3
files will remain at their regular price of $9.

This promotion only applies to the digital MP3 version of Mama, I'm
Swollen. CD and Deluxe LP physical editions are also available, and include
an instant MP3 download of the record, deluxe art and a download card for
additional bonus music and videos.
Obviously, this isn't the best deal in the world (hey, Radiohead and Trent did just give away their shit), but it's good to see labels getting in on the action. My copy is currently being downloaded, and I can't wait to hear the end result.

What about you? You hopping on board this one?

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Saturday, February 28, 2009

29 in 2009 - Nick Drake: "Pink Moon"


Nick Drake: Pink Moon
Originally Released: February 25, 1972
Genre: Folk
Rating: 8 out of 10 Stars

I have a friend who's really into folk music as of late, so when I told him about this whole "29 in 2009" thing, he immediately insisted that I add this record to my list. I'm glad that I did. Prior to me sitting down and making an honest attempt at listening to Nick Drake, my only experience with the artist had been from whatever soundtracks or car commercials he happened to have been on. Embarrassing, yes, but the truth nonetheless. My ill-conceived judgement to these brief encounters was "yay, big deal!"

Silly me. One listen to Pink Moon and I immediately realized just how influential this album is. One listen to your modern folk artists - your Iron & Wines, Rocky Votolatos, and Jose Gonzalezes - immediately point out the painfully obvious truth that much of what they do is a blatant attempt at trying to reach the same musical heights. They're all great, but after listening to a lot of Nick Drake in the last few weeks, I've slowly become less and less impressed by their antics.

On an album in which the only instrument used (save for one part) is a guitar, the most strikingly beautiful feature is Drake's feather-light voice which is so iconic that even people who are passively aware of his music will be able to pick it out in the aforementioned commercials and movies and be able to correctly identify its source. For that alone, this album can be considered a classic. Add in the fact that there's not a single song on the album that even comes close to being less than great and you have an album that becomes one of the few that can define genres or styles of music.

Pink Moon is certainly one of those albums, though the debate as to whether it is his best still rages on to this day in the midst of shitty college jam sessions. You know an artist is amazing when an album this good is even debatable as his best! Personally, most of my time spent with Pink Moon has been with it playing as I go about my regular day-to-day business. It goes by so quick (less than 30 minutes in length) that by the time I start paying attention to it, I realize that it's already played through 2 or 3 times!

And that's just what folk music is to me: background music. Great background music, sure, but nothing that I try to imitate or mold my own musical failures after. I'm not the biggest fan of the genre, but even I can spot beauty when it shows itself. And Pink Moon is - in a word -beautiful. No more. No less. Somehow, I can imagine that that's exactly how Nick Drake would have wanted it.

Verdict: Classic

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Tuesday, February 17, 2009

29 in 2009 - The Who: "Tommy"


The Who:  Tommy
Originally Released:  May 23, 1969
Genres:  Rock, Rock Opera
Rating:  6 out of 10 Stars

The thing about storytelling is that it has to connect with the audience in some manner.  Otherwise, you're just telling it to yourself.  One of the most difficult aspects of writing stories or making films is getting an audience to relate to the characters in your story.  For me, there is nothing about Tommy Walker, the central character to The Who's seminal storytelling album, that causes me to care about him.  This is the central weakness of Tommy, and the reason why after listening to it for well over a month I am still unable to connect with it or have the desire to listen to it more than I have to.

The story is summed up (in short) as follows:  

Tommy is deaf, dumb, and blind.  
He has a shitty childhood.  
His family tries to fix his deafdumbblindness several different ways.  
They all fail. 
 Tommy is really good at pinball.  
He wins a tournament.  
Tommy's parents discover that his illness is all in his head.  
He snaps out of it. 
 Tommy becomes a cult leader.  
He is harsh on his followers.  
They leave the cult.  
The end.

If it sounds like a half-assed story, that's because it is.  Is it a metaphor for something that only Pete Townshend understands?  Probably.  The point I'm making is that if you're going to tell a story, you better have a damn good reason to tell it.  Unfortunately, nothing about Tommy seems to be of incredible importance.  Nothing seems to be capable of touching the average listener.  Do we feel sorry for Tommy's tough life?  Kind of.  But so little is known about Tommy's inner-workings that it's difficult to connect with the character on anything other than a superficial level.  

In many ways, concept albums are always quite superficial simply because it's tough to tell a deep, meaningful story that connect with the audience within the confines of a record.  Few records have been able to pull it off, and in my opinion, Tommy isn't one of them.  So why the accolades?  Why the praise?  It was the first "rock opera."  That's all I can think of.  Granted, the music on Tommy isn't half bad.  "Pinball Wizard" is a classic for a reason, "Christmas" is all sorts of awesome, and "Sally Simpson" is nothing to scoff at.  But again, there's nothing here to connect with as a listener.  Tommy is essentially pop music disguised as intelligent rock.

Honestly, this was one of the albums I was most looking forward to listening to.  Remember that scene in Almost Famous where Zooey Deschanel's character says to her younger brother, "Listen to Tommy with a candle burning, and you'll see your entire future."  Well, I tried that.  The only thing I saw was a future devoid of me ever listening to this album again.

Fair enough.

Verdict:  Overrated

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Wednesday, February 11, 2009

Loney, Dear: Dear John

Emil Svanängen's worldwide debut as Loney, Dear (2007's Loney, Noir) was one of the most delightful things to come out of Sweden in some time.  On that remarkable album, Emil introduced himself as a sort of insecure, soft-spoken artist who just couldn't help but write some of the most endearing love songs of the past decade.  To sum up the album with one word, it was "hopeful."  Loney, Dear's newest release, Dear John, retains all of the artist's lovable characteristics, but turns to a darker side of music and love.  Emil has taken his mild feelings of inadequacies and fleshed them out into a bleak, complex album that finds the artist shelving much of his genius pop songwriting in favor of a more minimalist, sullen atmosphere.


One would probably not guess this from the first track on the album.  "Airport Surroundings" introduces a lot of synths and electronic drums, which were apparent on Loney, Noir, but not nearly as prominent as they are on John.  Beyond the upbeat track, however, are some incredibly gloomy lyrics.  Emil sounds as if he's on the precipice of a deep depression, battling with himself as to whether he will give into that hopelessness.  He sings, "I took the fastest way down when I surrendered this time.  I wasn't feeling no good.  I took the easy way out," while adding that "You were all that I wanted."  Hearing Svanängen pine for love is nothing new, but to see it wrapped up in such despair is quite the departure.


Much of Dear John seems to paint Emil as a person who is aware that he is in or near a state of depression, and oftentimes he speaks of "change;" the desire to change into a better version of himself.  On "Everything Turns to You," one of the album's most striking songs, he sings of trying to change only to confess that, "all the times I make it worse with all the devils in my head."  "Change" is a reappearing theme on the album, like on "Harsh Words" where he pleads, "Tell me I'm good enough, that I could change" or later on the fantastic "Distant Lights."  It's clear that Emil is a man at war with himself, and at the very least it makes for a more complex listen.  

Where Loney, Noir saw the artist compiling layers and layers of synths, vocals, and guitars to make large, beautiful sounds, Dear John finds Svanängen taking a more minimalist approach on occasion.  "I Got Lost" is the first time that we get to hear Emil in this way.  With only faint guitars and distant strings to accompany his vocals, the audience is allowed to hear the frailty in his voice when he asks, "Where's my lord to look for me now?"  Later, on "Harm/Slow," one of Dear John's most impressive tracks, Emil sings against a backdrop of looming danger.  The track, as the title suggests is actually two songs in one.  "Harm" seems to be about the artist overcoming his fear of danger, of death, while "Slow" seems to show the artist's depression taking over him, to the point where he ends his life.  He sings, "That's how I fell from top of twelve stories to the ground.  For the reasons I had.  The ones I know, the ones I don't.  For all I forgot, that is all I could do, that is how I want you."  Is this a suicide reference?  It's definitely up for discussion, but the song's abrupt conclusion would seem to allude to an equally abrupt death.


Fortunately for fans of Loney, Dear's past work, there is plenty on this album that is more in line with what you would expect.  "I Was Only Going Out" is classic Loney, Dear, sounding somewhat reminiscent of "The Meter Marks OK," and "Summers" is appropriately titled, as it's a very summery track.  Emil does a great job of spacing these songs out on the album so as not to make it feel so lop-sided.  "Under a Silent Sea" is easily the album's standout track in that it combines the minimalist tendencies of Dear John with the multi-layered ways of Loney, Dear's past albums.  The difference is that the layers on the song are comprised of thick synths, and electronic drums.  By the end of the song you're more likely to think you're listening to a dance album than Loney, Dear.  At over 5 1/2 minutes, it's also the longest track on Dear John, but every second of the song is enchanting and I've listened to it at least a dozen times in the past few weeks.

Musically, emotionally, and lyrically, Dear John is all over the place.  Through it all, however, it is Emil Svanängen's endearing personality that ties everything together and makes the album feel like a coherent piece of art.  He is so honest in his work that you feel as if you know him personally, that you experience all the ups and downs of his life right beside him.  Few artists are as open as Svanängen, and as a result, it's not often that an album of this caliber comes around.  There have been rumblings in recent months of putting Loney, Dear to rest, and if that turns out to be the case, there can be no denying that Dear John is the artist's magnum opus.  It is an album, so beautiful, so heartbreaking, touching, and real that it begs to be listened to over and over again.  

Key Tracks:
1. "Airport Surroundings"
2. "Everything Turns to You"
3. "Under a Silent Sea"
4. "Distant Lights"
5. "Harm/Slow"

10 out of 10 Stars
(Yes, really)

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Friday, February 06, 2009

29 in 2009: A February Update


As much as I love the idea of this whole 29 in 2009 thing, I must admit that it's becoming much more time consuming than I originally thought.  I'm definitely taking my sweet time with this one, though to be fair, you're definitely getting way more posts than that whole September - November phase of the blog.  My reasoning is simple on this.  I've never been one to just make passing listens to music and then discard it, unless of course it's something absolutely dreadful (think Gogol Bordello).  Therefore, I try to give each album the time it deserves.


This problem is only intensified by my absolute adoration of the new Loney, Dear album (review up next week), which I simply can't stop listening to, and the fact that The Who's Tommy - the album I'm currently working on - is a very difficult thing to process.  I've definitely spent a lot of my time researching the album, and a lot of time listening to it.  The problem is that you simply can't listen to Tommy a few songs at a time.  It has to be consumed as a whole, and finding 1.2 hours (thanks iTunes!!) here and there to listen intently to complex music can be tough.  It's coming along though, and if there isn't a write-up on it in the next 2 weeks I'd be surprised.

Next, let me talk about how I go about picking the albums that make it to the Top 29.  It's basically a mathematical equation that involves my prior knowledge of the band (Rush and Pink Floyd probably won't make it on the final list because I feel like I've already heard enough of them to "get it" and appreciate what they're all about), how influential the album is (I don't necessarily think I'll enjoy Bob Dylan or Robert Johnson, but it's like "required reading" if you want to know anything about music, right?), and critical consensus (I personally think that The Grass Roots have made some of the most classic pop music of all time, but the critics and popular opinion don't usually back that up).

Below, you'll find an updated version of the 29 albums that I'll attempt to listen to this year.  New additions to the list have been added in bold.  You'll notice that there are 11 spots still available on the list.  I will be doing something special with these slots, and yes, YOU will be the person who decides what makes it in those spots.  More on that when the time arrives (we're still a ways off).  Until then, be sure to catch up on my first two reviews in the series and post your comments in their respective posts.
  1. Elton John: Goodbye Yellow Brick Road 
  2. King Crimson: In the Court of the Crimson King 
  3. The Who: Tommy 
  4. Nick Drake: Pink Moon
  5. Bob Dylan: Highway 61
  6. Robert Johnson: King of the Delta Blues
  7. Jimi Hendrix: Electric Ladyland
  8. Buddy Holly: Buddy Holly
  9. Jethro Tull: Aqualung
  10. The Velvet Underground: The Velvet Underground and Nico
  11. The Doors: The Doors
  12. The Clash: London Calling
  13. The Allman Brothers: Eat a Peach
  14. Miles Davis: Bitches Brew
  15. The Beatles: Sgt. Pepper's Lonely Hearts Club Band
  16. The Smiths: The Queen is Dead
  17. R.E.M.: Murmur 
  18. Joni Mitchell: Blue
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Thanks for reading!

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