Monthly Archives: February 2014

CD Review: Brian Wilson’s “Gettin’ In Over My Head”

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RATING:  4 / 5 stars

By Chris Moore:

Released on the eve of SMiLE, Gettin’ In Over My Head is a testament to Brian Wilson’s talent and motivation as a singer/songwriter. Entire books (see: Wouldn’t It Be Nice: Brian Wilson and the Making of the Beach Boys’ Pet Sounds by Charles L. Granata) have been written about how Wilson changed the landscape of the singer/songwriter’s rock/pop album, both in how artists create and in how the audience listens. It is refreshing and inspiring to see that such an artist is not only reworking unfinished projects from the past, but also creating new music that stands independently from his past hits.

The first track, “How Could We Still Be Dancin’,” is a great start for this album. Brian Wilson may be an aged rock star whose prime was arguably in the mid-1960s, but his flair for an upbeat song—a song which one might dance to—is unsurpassed. He invites Elton John along for the ride, and delivers a great album starter. This is followed up by “Soul Searchin’,” a song that carries with it many implications. The lead is shared by Brian and his brother Carl, who passed away in 1998. Brian was able to take Carl’s original vocal—cut in the mid-90s for a possible Beach Boys project—and feature it on a new track cut by Brian and his band. For Beach Boys’ fans, this is a treat in and of itself. That it is an emotional song and perhaps one of the best on the album is a wonderful bonus. The third and fourth tracks are notable for their sound. The fourth (and title) track is especially notable, when considering the evolution of Brian Wilson’s sound. There are certainly intimations of Pet Sounds throughout the album, in the choice of instrumentation and the themes of love and, specifically, the overlap between new and old love.

This is not to say that Wilson is simply tapping into and mimicking a previously established sound, albeit his own. On the contrary, he delivers songs like “City Blues” (an upbeat track laced with a typically, and appropriately, bluesy electric solo by Eric Clapton) and “A Friend Like You” (an admittedly cheesy, yet sincere collaboration with Paul McCartney)—these are new songs. Still, Wilson good-naturedly returns to the music of his youth with “Desert Drive,” a song that could have stepped off of an album like Little Deuce Coupe. Wilson wrote three of the songs on the album by himself, of which “Don’t Let Her Know She’s An Angel” is probably the most brilliant. He sings, “I don’t know why she completes me…I’m not even sure what love means / Don’t let her know she’s an angel.” Even in his sixties, Wilson still remembers how it feels to be in love and yet not know how to define it, how to define it logically. It’s a beautiful little tune, complete with a well-orchestrated backing track and impeccable harmonies—Wilson’s trademarks.

What cannot be understated here is the fact that Wilson wrote or co-wrote each and every one of the thirteen songs on this album. He has earned the right to host guests like John, Clapton, and McCartney to a degree that an artist like Santana has not. Wilson cannot be accused of relying on the names of his co-stars. He has arranged an original album that stands on its own. It builds upon the surf music and Pet Sounds styles of his past without relying on them. He even closes the album with “The Waltz,” a song he co-wrote with Van Dyke Parks. A song of high school cotillions, angora sweaters, fandangos, Topanga, Tarzana, and a love that “can make this old world tremble,” this final collaboration is an apt nod to Wilson’s next release, the long-awaited SMiLE. This album stands on its own, a validation of Wilson’s continuing career as a singer/songwriter.

11/2005

The Weekend Review: March 2013 Report

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By Chris Moore:

The Next Day (David Bowie)

Producer: David Bowie and Tony Visconti

Released: March 8, 2013

Rating:  4.5 / 5 stars

Top Two Tracks: “The Stars (Are Out Tonight)” & “The Next Day”

After releasing albums at breakneck speed for over three decades until 2003, David Bowie returns from a ten year studio album silence with The Next Day, a masterful accomplishment that serves to reestablish his place in rock music.  Here, Bowie offers up heartfelt vocals across a range of songs from fast-paced to downbeat and heavily produced to minimally rendered.  His work continues to demonstrate dominance, particularly in the realm of quirky atmospherics, and the first three tracks quickly suggest the diversity to come across the record.  From “The Stars (Are Out Tonight),” the most single-worthy standout on the album (despite the fact it was chosen as the second single) to well-paced yet laidback “I’d Rather Be High” to the balladic, smooth, bittersweet tones of “Where Are We Now?”, Bowie’s range is what is perhaps most impressive on The Next Day.  This is a project on which all of the songs share a common sound and feel, yet defy any criticism of uniformity.  This is not to mention the lyrical content, which is worthy of uninterrupted time spent listening while reading along to a lyrics booklet.  With this all established, we can only hope that Bowie won’t wait another decade for a follow-up.

 

 

 

 

Old Sock (Eric Clapton)

Producer: Eric Clapton, Doyle Bramhall II, Justin Stanley, & Simon Climie

Released: March 12, 2013

Rating: 2 / 5 stars

Top Two Tracks: “Every Little Thing” & “Gotta Get Over”

The last truly dominant, dynamic, and original Eric Clapton album was released in 1998.  It was titled Pilgrim and featured all Clapton tracks with only a couple exceptions.  The ratio of originals-to-covers fell to 2:1 for the still outstanding Reptile in 2001 (an album equal to if not better than Pilgrim) and the uneven Back Home (2005).  His 2010 solo release, strapped with the fittingly unoriginal title Clapton, saw him boasting a credit on only one track and a co-writing credit at that.  Now, three years later, Old Sock continues the trend as his first solo album to feature no original compositions, blues-cover albums like From the Cradle, Riding with the King, and Me and Mr. Johnson notwithstanding.  The most frustrating part of this realization is that Clapton is clearly still deserving of his status as legendary guitarist, teasing licks and riffs here and there that are distinctly a style and delivery all his own.  It is difficult to blame him for taking this relaxed route in the latter days of his career, as his recent covers compilations have tended to net reviews equal to or greater than those awarded his recent original efforts.  It is also difficult to listen to Old Sock and not feel the nagging desire to switch over to Pilgrim or Reptile sooner rather than later.

 

 

 

 

Earth Rocker (Clutch)

Producer: Machine

Released: March 15, 2013

Rating:  4.5 / 5 stars

Top Two Tracks: “Crucial Velocity” & “D.C. Sound Attack!”

 

After a foray into more blues-based work, Clutch returns with resounding and resonating rock that is not only instantly accessible but also worthy of repeated listens and further study.  The pace rarely lets up as, track after track, the band continues to rip into full-throttle rock.  Indeed, the first five tracks are among the strongest opening sequences they’ve presented: from the infectiously catchy laugh refrain in “Earth Rocker” to the allusive “Unto the Breach,” the pace doesn’t let up until the well-placed, hauntingly stripped-down “Gone Cold.”  Lyrically, Neil Fallon’s words are by turns forceful and poetic, direct and open for interpretation.  The commentary is perhaps sharpest on “Mr. Freedom,” the blend of vocal and instrumental energy screams forth from “D.C. Sound Attack!,” and the vocals never seem quite so driven as on “Unto the Breach,” yet it is on “Crucial Velocity” that a near-perfect fusion of all the strengths of this album is achieved.  From the dead-on-target guitar work to the razor sharp lyrical commentary, it is difficult to understand why this track was held back as the second single.  Regardless, Earth Rocker provides further evidence that Clutch can still render loud, relevant rock on a level beyond most other bands.  The first six tracks are essentially perfect, and the second half presents gems – “Book, Saddle, and Go” and “Cyborg Bette” to name a couple – that may be overshadowed initially but will offer up more over time.  In short, Earth Rocker is an essential rock album for 2013.

“Ingrid Bergman” (Wilco & Billy Bragg Cover)

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By Chris Moore:

In the spirit of the blog, I’ll be posting on several topics tonight.  First, let’s get down to business and talk about my choice for an acoustic cover song session.  “Ingrid Bergman” is my second selection from the Wilco and Billy Bragg album Mermaid Avenue.  This album has one of my favorite back-stories; essentially (as I described for my “Walt Whitman’s Niece” post), Wilco frontman Jeff Tweedy and British folksinger Billy Bragg were given access and rights to boxes full of Woody Guthrie lyrics.  They recorded this album by writing music to fifteen of Guthrie’s songs, and it is an excellent recording.  Unfortunately, the second volume is not nearly as fresh and exciting as the first…

That being said, I had such a good time and a good response for my first Mermaid Avenue track that I decided to record this one also.  “Ingrid Bergman” is a song that I have oftentimes gotten easily stuck in my head and I find it peaceful to sing along to in my head.  It was actually more difficult to figure out the strumming pattern than I thought it would be.  Other than that, it was a pretty straightforward performance that I hope you’ll enjoy listening to!

In other news, it was a bad day to be a Mets fan…  After yesterday’s AMAZING outing by Johan Santana, I thought that there might be enough energy and momentum built up to translate into an important win of this, the last game played at Shea Stadium.  I’d like to jump on the bandwagon and blame the bullpen, but the great point has been made that, really, it takes both defense AND offense to make a winning team.  Not to mention the reasonable argument that Santana is essentially the sole reason why the Mets were in the race for so long to begin with.  Well, I suppose I can’t really complain.  I haven’t been a Mets fan for all that long, and this is really the first year that I watched or paid close attention to each game (thank you iPhone!!).  Let’s hope that management and the team in general has learned some important lessons for next year…

And last, but certainly not least, I will second Jim’s reflections on friendship.  I think that, all too often, with family, friends, lovers — we get so busy with our day to day lives and we lose perspective.  I know that I have been guilty of that.  And I’ve also been guilty of not taking a firm stand for those that I care about.  Life is a crazy, crazy process, and every time I think that I’m getting ahead of the curve and finding happiness, I get set back a step.  Ever felt that way?  Ever felt trapped by a paradox, or a no-win situation?  For those that don’t know me, I’m generally a pretty positive person — sometimes positive in the face of all logical proof to the contrary.

Contradictions, controversy, and general confusion are some of the best reasons we write.  I know that they’re my motivations.  And let’s just say I have a lot to write!  (More about that on my upcoming Original Wednesday…)

Thanks for stopping by for your daily dose of Laptop Sessions acoustic cover song excitement; don’t forget to hurry back tomorrow for an all-new cover by Jeff.

See you next session!

“This Land is Your Land” (Woody Guthrie Cover)

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By Chris Moore:

In the political spirit we’ve all been in recently, I thought you might enjoy this one…

You know, this is one of those songs that first came to me in elementary school, as part of a string of patriotic songs that I had to learn and sing for one of our big assemblies.  What I cared about then was more learning the words, and less what they meant.  What I most cared about was putting on a good show for my parents and grandparents.  But now, a decade and a half later, I’ve come back to this song and found more depth than I remember previously.

For instance, the final verse of the song (which was conspicuously absent from the version my classmates and I sang for our parents) refers to the narrator seeing “his people” in the line outside the relief office.  The final line of the final verse deals with those people asking “Is this land still made for you and me?”

Wow.  I can see why my elementary teachers stuck to the parts about the “redwood forests and gulf stream waters.”  Much less controversial to deal strictly with geography.  Once you start to deal with the issues taking place between “California and the New York islands” — now, that gets sticky.

And, in my opinion, much more interesting!  I definitely like Woody Guthrie’s “This Land is Your Land” much more after learning the full version.  It’s not even so much that I like it more, but I find it much more interesting.  And I can’t believe I haven’t introduced Guthrie — one of the classic American acoustic guitar players and songwriters — to the Laptop Sessions.  I realize that we focus more heavily on the sixties and forward (and on rock), but Guthrie is the original hero of my own musical hero, Bob Dylan.  Anyway, I’m glad I could fill that gap.

I don’t think there’s much of a market for replica Woody Guthrie acoustics — unlike, say, the Eric Clapton Fenders… [drool…] — but I always liked how Guthrie’s guitar bore the slogan, “This machine kills fascists.”  You never know…

Well, that’s about it for me for now.  If you haven’t done so already, you need to listen to Jim’s Original Wednesday for this week.  I usually try to hold my tongue, as there are only so many times a close friend and collaborator can say “Awesome song, man” before the credibility wears off.  But I’m not holding my tongue this time.  I didn’t really know what to expect, since it seems it was written in a quick burst and recorded directly after.  But it’s catchy and has some interesting lyrics.  So, go ahead, get over to that post and join the latest conversation starter at the greatest acoustic rock cover song music blog on the Internet!

See you next session!