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“All Along the Watchtower” (A Bob Dylan Cover)

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By Chris Moore:

Now, this is truly a day of firsts for me. Three firsts, if I count them accurately. In order of occurrence: (1) I woke up on my own, on a Saturday, at a decent hour, and got right out of bed. Anyone who knows me on any personal level to any degree knows how amazing that truly is. (2) Then, I recorded my Saturday cover video in one take, including rehearsals. When it comes to these cover song sessions, I am probably more of a perfectionist than I should be. Thus, I repeatedly practice and record the music videos until I’m satisfied I could not do any better. Suffice it to say that usually takes anywhere between five and twenty-five takes. Today, one!! And, finally (3) I came upstairs from FMP Studios to find Jim, having just woken up, in an excellent mood. This is nothing against Jim — and I’m admittedly a bear (not one of those friendly, cuddly ones you might see at a show with a trainer, but one of those angry, blood thirsty ones that attack campers and hikers without provocation ala the John Candy movie The Great Outdoors) if you try to wake me from nodding off during a movie, etc. — but Jim’s just not a morning person. We sat and talked about the music blog, brainstormed some new ways to improve our views and content, and then laughed quite heartily about bathroom humor, the details of which I’ll spare you.

All told, really not a bad way to start a beautiful, sunny summer day!

But let’s get down to business. My acoustic cover song for today is Bob Dylan’s “All Along the Watchtower.” Ironically, you are probably more familiar with the Jimi Henrix’s cover version than you are of Dylan’s original music. And, even as a HUGE Dylan fan, I have to admit that Hendrix’s cover song is the definitive version. Even Dylan admitted as much — his live performances of the song still reflect Hendrix’s arrangement. That being said, Dylan’s original is heavily acoustic, so I felt that would be a better version for this acoustic guitar music video. So, I grabbed my acoustic guitar, dusted off my harmonica rack, and gave it my all. One take. Could it have been better, more polished? Yes, I suppose. But this is what the Laptop Sessions are all about — this is a snapshot in time, as though you sat down with me in my living room and I just played it for you, on a whim. I hope you enjoy it!

See you next session!

**EDITOR’S NOTE: This video is no longer on YouTube, but please check out our other Bob Dylan cover songs here on the music video blog!

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Music Review: John Mayer’s New Live Album is Not So New, Not So Desirable

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By Chris Moore:

This live album by Mayer is perhaps, in terms of new music, the biggest disappointment of the year for me.  Being a John Mayer fan from the beginning, I have never quite been able to understand the degree of praise he has received for going back to the blues roots.  Yes, he is an excellent guitarist, and I am happy that more people are giving him the respect he deserves.  But he was always an energetic, talented guitarist – recall “Neon” as merely one of many examples.  I was unimpressed with the John Mayer Trio – its minimalist setup and apparent reference to the great rock trios of the seventies (Jimi Hendrix Experience comes to mind) has always seemed out of place to me when considering the depth of Mayer’s vocals and instrumental components on his studio recordings.  Then, Continuum was released, and I was truly befuddled.  It wasn’t so much that I disliked this new album – though I did and do find it lackluster at most turns – but this new album garnered such an exaggeratedly positive response.  Based on Rolling Stone magazine’s review, one might expect that this was John Mayer’s most amazing album to date and perhaps one of the most significant albums of the year.

This brings us to current day, 2008, and the release of Where The Light Is: John Mayer Live in Los Angeles.  As I entered my local music retail store, I headed for the CD section, knowing that the live album had just been released.  I had decided the night before, when I first learned of its release, that I would not purchase it.  I made this decision, knowing full well that, once I enjoy one or two albums from any given artist, I usually end up buying all their subsequent releases.  However, I thought to myself, what if they lose my interest entirely?  In the case of John Mayer, it wasn’t so much a branching out and changing of his style that concerned me – it was and is my perception that he has regressed as a songwriter.

When I saw the live album, I almost bought it.

The packaging itself is solid – a live concert in three sections: an acoustic solo set, a John Mayer Trio set, and a full band set.  The acoustic set alone intrigued me; “Stop This Train” is one of my few favorites from Continuum, “Daughters” would work perfectly in this type of arrangement, and Tom Petty’s “Free Fallin’” is one of my favorite songs.

So, I had picked it up, and looking it over, the desire to buy it was creeping in.  Then I read the second section – the Trio set.  Five of the eight songs in this portion were featured in the John Mayer Trio live album.  What could be so significantly different about these performances?  Of the final nine songs in the full band set, all but two were songs from Continuum.  The other two included “Why Georgia,” one of my favorite songs by Mayer, and a Ray Charles cover.  Why would I want to hear a live set of songs from an album that I was unimpressed with?

Saddened and, truthfully, disappointed, I placed the CD back on the rack.  I can’t say I will never listen to Where The Light Is, but I can say with certainty that I will not purchase it myself.  And that makes me very sad, as Mayer had quickly become one of my favorite new music artists on the scene a few years ago.  For perhaps the first time in my young, CD-collecting life, I have left an artist behind.  He may be off to new work with the blues community, but I’m off to listen to his lesser-appreciated work – the charming and spirited Inside Wants Out EP, the instant hit Room For Squares, and even the follow-up effort Heavier Things.  For me, those albums had it all – solid songwriting and great guitar work.

At most, I may return to Continuum and try to figure out what exactly it is that I have missed.

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“Bastard” (Ben Folds Cover)

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By Chris Moore:

Tonight’s session, Ben Folds’ “Bastard,” is the opening track to one of the most memorable albums in my collection. Songs For Silverman was released in 2005, a few years after I had really gotten into listening to albums. When I say “gotten into,” I mean that albums quickly became one of the few subjects that truly captured my attention and imagination as a high school senior. As I got into college, I quickly found a slew of new albums that I thought were incredible, ranging from the classics like Bob Dylan’s Blonde on Blonde to new music from Paul McCartney and the Wallflowers. I will always look back at that period of my life and fondly recall how new it all felt.

By 2005, I unwittingly began to fall into the traps that I had scoffed others for, specifically those like the Dylan fans who booed him when he went electric. Was it different? Yes. But, was it amazing music? Absolutely! I couldn’t fathom how close-minded people could be to new music. Unfortunately, two albums that I disliked upon their release — the Wallflowers’ Rebel, Sweetheart and the aforementioned Ben Folds’ Songs For Silverman — I later went on to greatly respect. I had to ask myself, why didn’t I initially fall in love with them?

The answer to this question lies in expectations. I expected Songs For Silverman to be as dynamic a record as Rockin’ The Suburbs, his previous and debut solo release. I expected him to play all the instruments and sing all the harmonies. When I listened to the album, there was a consistent sound throughout each of the tracks. He used a bass player and a drummer to augment his piano. It simply wasn’t what I expected. And to top it off, magazines like Rolling Stone were praising it for being more mature and overall better than Rockin’ The Suburbs, an album that I absolutely loved.

It is for this reason that Songs for Silverman holds a special place on my CD rack — it is an album that I didn’t give a fair chance. Ever since this realization, I have tried to approach each new album for what it is — a new album. It may not be the same or even as good as previous work, but if I give it a chance, I might enjoy it or even find it to be better! I know how much Jim Fusco and my sister, Jaime, love the songs on this album — Jaime didn’t take this CD out of her car for weeks after its release — and I’m glad I finally came around.

Well, I hope this makes up for my lack of post on my “7 8 9” video three days ago; I was just so tired that I couldn’t think straight. And I felt that video spoke for itself; it was amazingly fun to record. With Jim there to add acoustic flairs and background vocals, we knocked it out in a couple takes. We would have recorded some more from our long duet list — about ten or fifteen at this point — but hunger (and the need for ant traps) set in…

I hope you enjoy “Bastard.” You’ll get to hear my embarrassing and mercifully rare falsetto. You’ll get to hear me flub a couple of words noticeable only to the Ben Folds fanatic. You’ll get to see me (most likely) create enemies because I’ve broken Ben Folds’ general no-guitars policy and recorded an acoustic cover song of this song.

See you next session!

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CD Review: Tegan and Sara’s “So Jealous”

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RATING:  3 / 5 stars

By Chris Moore:

So Jealous brings to mind the definition of a three star album.

If one star indicates one’s ability to record an album and five stars suggests one’s talent for producing superior, impressive music, then three stars is a rating for a good album. In this case, Tegan and Sara have found a unique sound for themselves and embraced it. It is a good album that I have enjoyed—I am arguably biased in their favor, as my first two listenings took place on a two and a half mile stretch of I-91 during a major traffic jam; they saved me from utter boredom and frustration.

Yes, it is a good album. Does it demonstrate the musical genius of Brian Wilson? Does it compete for poetic excellence with the Wallflowers? Does it draw you in entirely, body and soul, as Jack Johnson’s new album can? The answer to these questions is an honest “no.”

This being said, I have learned that one cannot expect miracles out of every album ever made.

Tegan and Sara’s greatest strength lies in their ability to combine acoustic and electric elements. The first track demonstrates their very catchy sound as it builds from an acoustic song to an all-out electrified jam. And they sound good together. The combination of their voices is a blend that is pleasing to the ear.

For the most part, the songs are successful—memorable, even. This is not an album with one or two good songs and the remainder a void of throwaways. After all, how can one resist their cries for the subject of one song to “take me anywhere”? Or ignore their quiet, though authoritative pleas for another not to “get so uptight,” then to “Go away!”?

They have chosen to incorporate basic harmonies, which is a good choice for their vocal blend. Even their slower songs have a backbeat that drives them simply—as is the case with their vocals—yet effectively.

The most significant factor in my mediocre rating of this album lies in their one notable flaw—repetition. On several tracks, they tend to take the same chorus, albeit a well-written, catchy chorus, and repeat it too many times. Ending some songs earlier or expanding the lyrics would have significantly improved the flow of the album.

I truly believe that they have it in them to write better songs. Actually, I should say they have it in them to better the songs they have already written. “You Wouldn’t Like Me,” “I Bet It Stung,” “I Won’t Be Left,” “Walking With A Ghost,” and “Fix You Up” are strong tracks and very good songs. They are performed in a heartfelt manner by two talented young songwriters who are perhaps a couple of the world’s last, best hopes for successful women artists in the music industry. They write their own songs, play their own instruments, are entirely clothed in all their pictures, and criticisms aside, have produced a thoroughly enjoyable album.

7/2005

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