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The BEST “SHOULD’VE BEEN THE SINGLE”’s of 2011 (The Year-End Review Awards)

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By Chris Moore:

Every year, a significant percentage of music listeners base their playlists and knowledge of music on the tracks chosen as singles.  The obvious drawback here is that these tracks are chosen based on the likelihood they will be radio hits.  In short, the songs that fit the formula prescribed by the labels will be chosen, and the other – oftentimes superior – songs are left unnoticed.

Now, I understand why this is the process; I really do.  Those who like albums are left to take our chances on the LPs.  However, even in choosing the singles, the powers-that-be often surprise me.  The following three tracks are the songs that I feel should have been the singles for their respective albums instead of the ones that were actually chosen.  I’ve listed out the songs that were chosen as singles, and you’ll find that, in a couple cases, there are three songs that have been chosen over the song I feel is most single-worthy.  As a final note, Colbie Caillat recently released “Brighter Than the Sun” as the second single from All of You, which leads me to believe that I’m not completely off base in my opinions.

1)  “Hurts Like Heaven” – Coldplay (over ‘Every Teardrop is a Waterfall,” “Paradise,” and “Charlie Brown”)

2)  “Fire Fly” – Childish Gambino (over “Bonfire,” “Heartbeat,” and “All the Shine”)

3)  “Brighter Than the Sun” – Colbie Caillat (over “I Do”)

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The Weekend Review: October 2011 Report

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By Chris Moore:

 

Is for Karaoke EP (Pt. 2) (Relient K)

Released: October 4, 2011

Rating: 2.5 / 5 stars

Top Two Tracks: “Interstate Love Song” (originally performed by Stone Temple Pilots) & “You’re the Inspiration” (originally performed by Chicago)

This is already the second time this year that a young band has performed a cover of the Wallflowers’ “One Headlight”: first by Parachute in concert and now here as the opener to Is for Karaoke Pt. 2.  My first thought on this is that this is suggestive of some communal desire, subconscious or otherwise, for more of the sort of music Jakob Dylan specializes in.  His band’s masterpiece Red Letter Days (2002) may have gone even more unnoticed than 2000’s Breach (as if that was possible), and Rebel, Sweetheart (2005) fared even worse, but perhaps the time is right for a new Wallflowers record.  I think I heard something about that being in the works…  But we’re here to examine Relient K’s second EP of covers this year.  This seems like an odd distribution plan, and though I downloaded both, I must admit that these might as well have been a set of individual downloads than two supposedly cohesive EPs.  The production quality of this second set of covers may be as high as the first seven (who could deny that after hearing their take on Cake’s “The Distance”?), yet the selection is decidedly less dynamic.  One of the standouts is their version of Chicago’s “You’re the Inspiration,” taking this epic love song into our decade, perhaps reminding some who have forgotten it.  (Though I’m not certain how expansive the market is for Relient K covers…)  The presence of certain tracks defies understanding; I have to wonder if they decided to tackle “Africa” simply because they stumbled across the same keyboard effect that Toto took for their own in the eighties.  Still, other tracks, like “Interstate Love Song,” are remarkably true to the original performances, and serve to further stretch Matt Thiessen’s range and show off his capabilities.  All told, I would download “Interstate Love Song” and “You’re the Inspiration,” maybe “Motorcycle Drive By” (originally by Third Eye Blind), return to Bringing Down the Horse (1996) for the Wallflowers version of “One Headlight,” and forget the rest.

 

People and Things (Jack’s Mannequin)

Producer: Jim Scott, Rob Cavallo, and Andrew McMahon

Released: October 4, 2011

Rating: 3.5 / 5 stars

Top Two Tracks: “Amy, I” & “10 Days Gone” (Amazon Bonus Track)

As with 2008’s The Glass Passenger – which, by the way, gets name-dropped in “Hey Hey Hey (We’re All Gonna Die)” – People and Things is eminently listenable: always energetic, accompanied with passionate vocals, and all upon a foundation of rock piano.  Andrew McMahon is like the poppier Ben Folds: using piano to characterize his somber and reflective tunes, yet more predictable and, specifically, more predictably pop/rock than the aforementioned Folds.  This familiar style of arrangement works against People and Things concerning repeated listens, but once in the mood to listen, the album rolls out one expansive, epic production after another.  Some blend into the mix, none really falter, and a few rise up from the median: the heavily rendered ballad “Amy, I,” the near –scream of “Release Me,” and the gorgeously layered “People, Running,” not to mention the outstanding bonus track “10 Days Gone” (how that didn’t make the final cut is a head-shaker at best).  Jack’s Mannequin is a band I want desperately to hate, to despise for churning out formulaic piano indie pop/rock, and yet… I’m taken by it, every time; if only for that reason, I must recognize their achievement.  And they seem to be one of the few acts today – with a few exceptions, like the Wallflowers (see: Rebel, Sweetheart) – that understand how to use a comma, so there’s that…

 

The Lost Notebooks of Hank Williams (Various Artists)

Released: October 4, 2011

Rating: 3 / 5 stars

Top Two Tracks: “How Many Times Have You Broken My Heart?” (performed by Norah Jones) & “You Know That I Know” (performed by Jack White)

I can’t stomach modern country music.  I review a relatively wide range of popular music: generally, if there’s a guitar or piano or some bass or drums in the mix, if the track is at least performed by an artist who wrote the song, I’m willing to give it a shot.  I’ve recently expanded my reach into rap a bit.  But country…  Country…  I’ll save this rationale for another time, but suffice it to say that my distaste for country music is specifically for that of the modern variety; when it comes to Johnny Cash, I’m in awe.  Some of his peers and predecessors receive the same reprieve in my book, Hank Williams being one of them.  How could I not reserve such a space in my musical heart for a hero of Bob Dylan?  So big a space, in fact, that I’m willing to grant the Alan Jackson performance of “You’ve Been Lonesome, Too” a thumb’s up.  Norah Jones, Jack White, Jakob Dylan, and Sheryl Crow: who could ask for a better variety of popular artists to balance out the more straightforwardly country artists who perform the other half of the songs on The Lost Notebooks of Hank Williams?  It’s a fascinating concept for a tribute album, really: take the lyrics to unfinished songs by Hank Williams, found with him after his death, and inject twelve new songwriting styles to put music to them.  What you end up with is a sort of collection of posthumous collaborations between Williams and contemporary artists.  Some have criticized the songs for being too flatly like Williams’ other originals, or too interpretive, strongly taking on the sound of the contemporary artist.  Regardless of your critical standpoint, it would be difficult to ignore this project as anything less than an interesting approach.  What would be the alternative: an album of covers?  Instead, curated by Bob Dylan and highlighting the second set of outstanding contributing performances by Norah Jones and Jack White this year, The Lost Notebooks is no Mermaid Avenue, but it’s almost on the level of Mermaid Avenue Volume II.  I would even recommend individual downloads for a more consistently enjoyable experience, but I wouldn’t suggest missing the liner notes that tie this project together.

 

The Best Imitation of Myself: A Retrospective (Ben Folds)

Released: October 11, 2011

Rating: 5 / 5 stars

Top Two Tracks: “House” (new Ben Folds Five recording) & “Rocky” (Ben Folds demo)

More than sixty songs, an additional five-song EP via free download, expansive and fittingly funny packaging, and all tied together with detailed liner notes by Ben Folds himself: The Best Imitation of Myself: A Retrospective is, without argument, the best packaged Folds effort in a decade and perhaps ever.  Ever since the poorly designed barrage of EPs post-Rockin’ the Suburbs (2001), I’ve been hesitant about Folds’ non-album releases.  There have been more recent releases of questionable overall quality (the a cappella album, anyone?).  And yet, I had a good feeling about The Best Imitation of Myself, one that was confirmed in every conceivable way.  Whether you have loved his work since Ben Folds Five or have never heard of him before, I would strongly recommend picking up this set of essentials, live tracks, rare/unreleased songs, and three new Ben Folds Five recordings.  Speaking as someone who is not generally a fan of “best of” and “greatest hits” collections, I have no doubts that you won’t regret it. 

 

Bad As Me (Tom Waits)

Producer: Tom Waits & Kathleen Brennan

Released: October 21, 2011

Rating: 4.5 / 5 stars

Top Two Tracks: “New Year’s Eve” & “Bad As Me”

Straight from the vocal chords that make modern-day Bob Dylan sound downright angelic comes an album from Tom Waits that, somehow without compromising his uniquely quirky – at times disturbing – sonic sensibilities, offers itself up as an immediately accessible work of artistic expression.  Its raw quality engineered by some of the best darkly folk musicians available, drawn together thematically by the failing state of the man, society, and morality in general, Bad As Me offers itself up to new realizations regarding vocals, instrumental performances, and perhaps most deeply through its lyrics with each listen.  The ramshackle stomp-rock of “Chicago” shakes the album to a start by riffing on escapist sentiments, “Raised Right Men” reinforces the reasons for leaving, and “Talking at the Same Time” adds a shockingly smooth quality to the mix, Waits’ voice rolling over the typically rough edges.  With nary a clunker in the set, all thirteen tracks of Bad As Me contribute hauntingly, fittingly to the stark culmination of the album in “New Year’s Eve.”

Mylo Xyloto (Coldplay)

Producer: Markus Dravs, Daniel Green, Rik Simpson, & Brian Eno

Released: October 24, 2011

Rating: 3 / 5 stars

Top Two Tracks: “Us Against the World” & “Hurts Like Heaven”

Mylo Xyloto isn’t a step forward from 2008’s Viva La Vida, or Death and All His Friends, but it would be overstatement to suggest that it denotes a regression.  Instead, it is the logical blending of the pre-Viva La Vida style exemplified on X&Y (2005) with their new big picture perspective on the album.  As such, the concept-level of Viva La Vida isn’t quite achieved here, but neither is the uniform pop soundscape that came to a head for Coldplay in 2005.  Here, there are instrumental pieces added to provide transitions at key moments, and there is a sense that Mylo Xyloto embodies an attempt at cohesion (stronger in the first third than thereafter), a mixture of art and consumption-ready pop, clearly weighted toward the latter.  This is, after all, the band that, for three consecutive albums, has hit number one in all eleven countries deemed worthy of recognition in their Wikipedia profile.  Not a number two to be seen.  Last time around, the band’s work seemed much more worthy of the aforementioned accolades than this latest record, but Mylo Xyloto is far from a throwaway effort.  Why the world at large seems incapable of balanced criticism of this band, tending instead toward either blind devotion or deeply felt disgust, I will most likely never fully understand.  Simply put, Mylo Xyloto is good: it isn’t bad, but it isn’t great.

 

In the Key of Disney (Brian Wilson)

Producer: Brian Wilson

Released: October 25, 2011

Rating: 3 / 5 stars

Top Two Tracks: “Colors of the Wind” & “You’ve Got a Friend in Me”

What, oh what, to write about an album of Disney covers…?  The eleven-track collection is surprisingly – or, given Brian Wilson’s legacy and recent track record, not surprisingly – In the Key of Disney is eminently listenable, adding maturity and characteristically Wilson-esque flairs to these children’s songs.  Some are transformed, as in the nearly perfect arrangement and performance of “Colors of the Wind” and the groovy rock version of “You’ve Got a Friend in Me,” while others offer greater resistance to assimilation into Wilson’s catalog at large, namely “The Bare Necessities” and, the admittedly typically brilliant vocal arrangements notwithstanding, the “Heigh-Ho / Whistle While You Work / Yo Ho (A Pirate’s Life for Me)” medley.  For the hardcore fan, In the Key of Disney won’t shake your faith in the master, but it probably won’t distract you for long from the news of the new Beach Boys material to be recorded by the four surviving members in 2012 either.

 

Ceremonials (Florence & the Machine)

Producer: Paul Epworth, James Ford, Charlie Hugall, Ben Roulston, Isabella Summers, & Eg White

Released: October 28, 2011

Rating: 3.5 / 5 stars

Top Two Tracks: “Never Let Me Go” & “Breaking Down”

As promised by Florence Welch herself, Florence & the Machine’s sophomore effort Ceremonials offers up more in the way of beats this time around, adding vitality to her murky lead vocals and the deep intonations of her piano work.  There is a decidedly heavier, more epic feel to much of her work here that makes good on the potential she demonstrated on 2009’s Lungs.  There is still a certain dynamic quality lacking in even Ceremonials, but this album certainly suggests a significant step forward, a surging of confidence in the tenor and energy of tracks like “Shake It Out” and “Never Let Me Go,” as in the compositional ambition and vocal saturation apparent in “Breaking Down.”

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“My Last Mistake” (Dan Auerbach Cover)

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For Dan Auerbach chords/lyrics, CLICK HERE!

By Chris Moore:

Hello and welcome to another installment of “Chris Moore Monday.”  It is my priviledge and responsibility to start off each week right, usually with a selection that is in “new music” news.  I figure this is appropriate, since tomorrow is “New Music Tuesday” – what better role is there than to turn you on to great new music?

Okay, so tonight’s song is technically a week old…

Dan Auerbach is better known as one half of the blues rock music group the Black Keys.  The band formed in Ohio in 2001, and in less than a decade, they have accumulated an impressive resume — including opening for Beck and Radiohead, playing on Late Night with Conan O’Brien and The Late Show with David Letterman, and receiving accolades from Rolling Stone such as one of the “10 best acts of 2003.”  Although the band has not broken up, this year has found Dan Auerbach making a name for himself by releasing his very first solo album titled Keep It Hid.  I almost transcribed and played this, the title track, but I couldn’t resist “My Last Mistake,” the subsequent track.  Auerbach might agree with this choice of songs to record and play, as he performed “My Last Mistake” on the Friday, February 13th episode of Conan O’Brien.

So, you may be wondering how I heard of this release.  Well, aside from receiving a coupon for the first-week purchase in my favorite email each week — the Newbury Comics e-newsletter!! — I was tipped off to the release by someone who has his finger on the pulse of all things modern and alternative rock.  (So, thank you again, Geoff!)  He’s the same person who strongly suggested I check out the 2008 albums of Beck and Cold War Kids, both of which I would never have purchased on my own.

And I would have missed out!

Now, they’re not my favorite records of the year, by any means, but there are some killer songs that would have passed me by entirely.  So, hopefully I’ll continue to receive new rock music insight from Newbury Comics, Geoff, and who knows who else!

Speaking of new music, I constructed a fairly impressive “Albums of 2008” iTunes playlist.  It contains 341 songs, ranging from the Barenaked Ladies children’s album to Ben Folds’ album (which was certainly NOT kid-friendly!).  I hadn’t really listened to the playlist since the New Year, but I just turned it on yesterday and fell in love with it again.  I’m listening to it now, and even now, Coldplay’s “Viva La Vida” just faded into Brian Wilson’s “Oxygen to the Brain.”  Where else can you find that sort of variety?!  I cling to my playlists and albums these days, as the popular media has only embraced an extremely small and profoundly unrepresentative sample of what modern rock music has to offer.  Take the aforementioned Coldplay, an overrated and — until recently, in this writer’s opinion — mediocre band.  Chris Martin and his band have received more Grammys than all of my favorite bands combined.  No kidding!  Meanwhile, Brian Wilson got a Rolling Stone article for his amazing 2008 album That Lucky Old Sun, and that was all.  I understand that he is older and there perhaps isn’t a market for his music, but I find it sad that more people couldn’t have been exposed to the bright, brilliant, and uplifting rock tunes that pour forth from that album.

Enough ranting for one day’s post…

As a final note, I finally picked up and watched the Sam Jones documentary I Am Trying to Break Your Heart.  I had planned on watching it with Dana last night, but he hadn’t returned home, so I got ready to watch it alone.  Then, Mike texted and sounded interested.  So, before I knew it, Mike had arrived with apple juice and saltines (food for sick people — my personal choice is G2 and wheat toast!) and we cranked up the volume on the big screen.  What a great documentary — not only is the filmography reminiscent of Don’t Look Back, but Jeff Tweedy is looking very Dylan-esque.  Scruffy, bearing harmonica rack, singing poetic lyrics — what more could I ask for?  Also, he seems like he would be a difficult guy to live and/or work with.  But that being said, I like Jeff Tweedy a great deal, and it was really interesting to see him candidly in the studio.  And thanks to Dana and Mike for making last night an event in and of itself — when Jim returns from vacation, I just may have to join them for their late night sessions that I miss so much since I’ve become an “old man” with a wakeup time of 5 or 5:30am…

And now to tie this ALL together…

Wilco switched to Nonesuch records after the Yankee Hotel Foxtrot fiasco (the situation filmed and described in I Am Trying to Break Your Heart), and Dan Auerbach is also on the Nonesuch label.  So, as you see, it all comes full circle…

See you next session!

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The 51st Annual Grammy Awards (2009) results that you care about!

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By Chris Moore:

Hey there, all you blog-reading rock music fans!  I just tuned in to the Grammy awards, and it’s a surreal experience.  After all, I haven’t watched the Grammy awards since Bob Dylan was up for a few awards in 2002, after releasing his Love and Theft album.  There’s really nothing quite as exciting as seeing your favorite musicians honored and – especially – peforming on national television.  I’ll never forget that Dylan performance of “Cry a While”…

But, back to this year.  I’m tuning in a bit late, in hopes of seeing rock music represent!  I bought a LOT of new music last year, and I’m very interested to see if any of my favorites actually get a Grammy nod.  In all honesty, I don’t expect many of mine to win, but I see some hope for rock in Coldplay, Radiohead, and others.

So, for those of you who missed the show or would like to take a second look, here are the results of the rock music-related Grammy’s…

Song of the Year: Coldplay’s “Viva La Vida”

Say what you will about Coldplay, but this is a rock band with an amazing rock album if I’ve ever heard one.  And here, officially, they have received the “Song of the Year” nod!  That will be the first album I listen to after the show — the Viva La Vida (or Death And All His Friends) album really is one of the two or three best albums of the year for 2008.  But that award is up for grabs later…

Performance: Taylor Swift and Miley Cyrus

While this really isn’t my cup of tea, I really can’t complain when I see a performance with just a singer or two and acoustic guitars.  It’s the Laptop Sessions business model, after all!  I see some hope for rock, or at least acoustic guitar music, in the pop music world when I see two young, attractive women playing a bare-bones, acoustic performance for a national television audience.

Pop Collaboration with Vocals: Robert Plant and Allison Krauss

Again, this is not music that I was excited for or even interested in last year.  I haven’t even heard the Plant and Krauss duets yet.  That being said, I think there’s a victory for rock music in here somewhere.  I think.

Performance: Stevie Wonder and the Jonas Brothers

I really don’t want to be excited about this performance.  And I’m admittedly watching it on mute so I can hear the TNA “Against All Odds” Pay-Per-View playing on the other television in the room.  But – and this is a significant BUT – I think it’s really cool to see the Grammy’s schedule a meeting between old and new, the past and present.  I never thought I’d see the Jonas Brothers rocking out on their guitars, standing shoulder to shoulder with Stevie Wonder on keyboards.  Wonder really has transcended all sorts of boundaries over the years, though, so I suppose it shouldn’t be that big a surprise.

Rock Album: Coldplay’s Viva La Vida (or Death and All His Friends)

Coldplay wins!  How many times have Chris Martin and his boys heard those two words?  Even a couple years ago, I would have happily jumped right on the “Coldplay is overrated” train, but after the release of this album in 2008 I have a newfound respect for this band.  Yes, they’re wearing the faux-Sgt. Pepper’s jackets.  Yes, I can’t understand why they are so univerally loved.  But this album is amazing.  From start to finish, it flows from song to song without losing momentum and building on a number of themes over the course of its ten tracks.  It reminds me of a classic Moody Blues album.  They’re not as good as the Moodies at crafting albums yet, but they have plenty more time to work on that painfully underrated art form.  (And, hey, if they WERE as good as the Moody Blues, then maybe they’d be just as obscure and under-appreciated as Justin Hayward and company are!)

Pop Performance by a Duo or Group with Vocals: Coldplay’s “Viva La Vida”

I’ve reinforced several times that I love this album.  I like this song quite a bit, although perhaps not as much as the rest of the world.  But the real question here is – how many times can you win for one album and its title track??  Just had to ask.

Pop Instrumental Performance: Eagles’ “I Dreamed There Was No War”

I haven’t heard it, but now I’m very interested…

Morgan Freeman

I think it deserves a note that Morgan Freeman (a) looks better than ever, even after that car accident that made headlines a while back, and (b) is announcing a performance at exactly the same time as a match on the TNA Pay-Per-View between Abyss and Matt MORGAN.  Coincidence?

Well, yes, but I was excited.

Performance: Paul McCartney (“I Saw Her Standing There”)

Awesome.  The man still has it.  Of course, he has the same thing he’s had for forty years.  And, of course, I must rephrase my earlier question — how much mileage can you get out of one song?  As Jim mentioned, isn’t the credo of rock’n roll that “only the good die young”?  As for me, I’m not complaining.  It’s good to see McCartney out there showing all the younger acts how it’s done!

Male Pop Vocal Performance: John Mayer (“Say”)

Really?  Am I the only one who thought this song was really boring?  The chorus goes as follows: “Say what you need to say” repeat, repeat, repeat, repeat, etc., etc…  I miss younger, short-haired John Mayer…

Solo Rock Vocal Performance: John Mayer (“Gravity”)

To be fair, I’ll include Paul McCartney (for “I Saw Her Standing There” from Amoeba’s Secret) in the following rant.  How can a live track, much less a live performance of a previously released song, make the “Best Solo Rock Vocal Performance”?  Isn’t that the beauty of the studio, that the rawness of a vocal performance and the controlled environment of the studio combine to bring the best of two worlds?  Even if you disagree, consider the competition — “Girls in Their Summer Clothes,” a great Bruce Springsteen track from Magic, and “Rise,” a track from the great Eddie Vedder soundtrack for Into The Wild.  To be honest, I haven’t heard the Neil Young track.  But, really, John Mayer?  This smacks too much of a high school-esque popularity contest.

Rock Song: Bruce Springsteen (“Girls in Their Summer Clothes”)

I’m not really sure why this song became the flagship of the Magic tracks, but this is indeed a great song and I’m glad to see it getting some credit.  Moreover, I hope more people will check out Magic, the Springsteen album that this song originated from.  Truly an enjoyable album.  And, according to the Grammy’s, this is a great song — just not good enough to beat a live version of “Gravity” by John Mayer for Best Male Pop Vocal Performance.

Alternative Music Album: Radiohead (In Rainbows)

I didn’t like this album nearly as much as everyone else who heard it, and I personally would have voted for Beck.  But, that being said, I really do appreciate what Radiohead is trying to do and I need to go back to In Rainbows this week to see what I missed…

Recording Package: Metallica (Death Magnetic)

Boxed or Special Limited Edition Packaging: Radiohead (In Rainbows)

I LOVE that there are still awards being given out for physical packaging.  There’s hope yet for the CD/vinyl/non-digital format!

Engineered Album, Non-Classical: Raconteurs (Consolers of the Lonely)

I’ll admit that I’m not exactly sure what this means, but I like the new Raconteurs album and it’s truly a great alternative rock album, so I’ll drink to this one!

Producer of the Year, Non-Classical: Rick Rubin

Hands down, this is THE choice for this category.  Why do I say this?  Four reasons.  Jakob Dylan’s Seeing Things.  Weezer’s Red Album.  Neil Diamond’s Home Before Dark.  Metallica’s Death Magnetic.  Enough said.

Short Form Music Video: Weezer (“Pork and Beans”)

An instant favorite on YouTube — this choice makes sense.

Long Form Music Video: Tom Petty and the Heartbreakers (Runnin’ Down a Dream)

This really was a great documentary and will go down as perhaps one of the rock documentary essentials, if only for its wonderful treatment of the story of one of the all-time classic rock bands.

Video Montage: Tribute to those who have passed away this year

This was a really nice presentation and is indeed a perfect stage for this sort of tribute.

When all is said and done, I can’t say I’ll rush back for next year’s Grammy awards, but I am glad to see some of my favorites get some attention.  I apologize for any negative, ranting-like tones I may have adopted during this report, but there’s just so much music I heard last year that should have received more attention than it did.  The Counting Crows and Brian Wilson to start with, never mind R.E.M. and Weezer.  But this being said, have a great night and “viva la” rock!

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