Roger Waters "The Wall" Live at Wrigley Field

When the opening notes of a show are accompanied with pyrotechnics, you know you might be in for something visually entertaining. When that same song closes with an airplane flying over head and crashing into the stage, you are probably in for something the likes of which you haven’t seen before. And that is, in fact, how it all began.

I had seen Roger Waters once when I was in college, and mostly what I remember was the absence of David Gilmore and the fact that Waters really isn’t much of a songwriter anymore. Bitter and pompous, he has a special ability to make me remember Pink Floyd for the music and not the personalities. His “Thank you for supporting me when I was with my other band.” farewell that night spoke volumes. But then I had heard something different. After he brought his live production of The Wall, an album he wrote almost entirely by himself in the late 1970s, to the United Center last year, the reviews were much more positive than I’d imagined they’d be. So, when another performance at Wrigley Field was announced, I figured I would give him one more chance. I mean, if there is any Floyd album to see him play cover to cover, it would be The Wall.

More rock opera than rock album, The Wall is almost entirely Waters. The story of a man’s, aka Pink, (read: Waters’) struggle with all things life and his self-induced seclusion from the world around him, it is the actualization of the drama that seems so befitting of Waters’ persona. Yes, Gilmore’s presence would be missed, but the rest wasn’t really a band effort anyway, so why not see it done by the man responsible.

Upon entering Wrigley, we were greeted with the stage. Yes, any concert at a venue that size is going to need a big stage, but big would be an understatement. Stretching from foul pole to foul pole across Wrigley’s outfield, we’re talking a stage of nearly 500 feet across. That’s not big. That’s massive! The wall itself was already partially constructed, leaving a giant gap across the center of the stage so we could see the band…for now.

Tickets said the show’s start time was “8:30 prompt,” which no one in my group had ever seen before. And you don’t need to tell us twice. This isn’t a show you want to come strolling into late, so there we were in our seas by 8:15 ready to rock. When 9:00 came around and they still hadn’t taken the stage, we were admittedly a little frustrated. But oh how that was all about to change.

“In the Flesh” is already attention-grabbing enough on its own, but add the aforementioned special effects and all the other sites and sounds around Wrigley virtually ceased to exist. All eyes were fixed upon the stage, where they would remain for the better part of an hour, as Waters playing dual roles of band leader and actor, treated us to almost every single original note of disc one (act one).

The wall itself became a canvas for some of the most advanced, high-definition images, effects and video I’ve ever seen. Timed seamlessly with each song, we saw glimpses from the movie version of the album, projections of what was happening on the stage itself, and visuals to make even the soberest individual question what was in their drink. And the sound. Oh the sound! In addition to the main stage rig, there were three more speaker towers placed throughout the infield, as well as at least two giant rear speaker enclosures in the upper deck to give the full 360 surround sound. Hearing that in your home is one thing. Hearing surround in a 41,000-seat outdoor stadium is a completely different animal.

Going into the show, I knew songs like “Another Brick in the Wall Part 2,” “Mother” and “Goodbye Blue Sky” would be highlights of the first set, but I can confidently now say that every single song was not to be missed. As the wall closed in brick by brick on the band, providing an even greater screen for the visuals, the emotion and isolation was as palpable for the band as it was for us. And as the final note of “Goodbye Cruel World” hit and that last brick was placed in the now completed wall, the single word left on my lips was “wow.”

Is it really half over?

Disc/act/set two of the album is when the theatrics really take over. But first let’s talk about the one thing that everyone in the house was waiting for: Comfortably Numb. Probably the most iconic Floyd song, this would be the true test of the evening. Can they pull it off without Gilmore. The answer? Yes. As with the rest of the show, Dave Kilminster, one of three guitarists in the band, hit it note for note, paying true homage to one of the greatest guitar solos of all time. And just as with other live versions of the tune, when it allows for a little improve towards the end, he stayed true to the Gilmore influence and really made us all, for a brief moment, feel like the man himself may just be back there wailing away. Absolutely brilliant and literally breathtaking, you could hear a collective grown/sigh/exasperation from the crowd when it was over. Bravo!

Puppets, a giant floating pig and Waters firing a machine gun into the crowd were just a few more of the countless, stupefying moments in part two. And as Pink’s trial progressed towards the climax and nearly 40,000 fans are yelling “Tear down the wall!”, chills were everywhere. This indeed was something incredibly special.

Going into the show, I figured there wouldn’t be an encore. But as the band stood on the edge of the stage and took a bow, the roar from the crowd was so loud, so long and so sustained that I thought maybe they’d just have to. Rather, Waters emphatically thanked the crowd and cued up “Outside the Wall” with on his trumpet, and with the band backing him, they slowly strolled off the stage, leaving the crumbled wall behind.

It’s not often that I’m ever excited to go to a concert and hear songs played exactly as they appear on the album. This is why some of my favorite live music is improvisational in nature. But Floyd is a different animal. Each album note is so carefully selected, so eloquently played and so emotionally received that to add a personal flare would be disrespectful. Waters knows this. Hell, he’s the one who made it that way in the first place. So, to go and hear The Wall done exactly as it was meant to be heard way back in 1980 was a special treat. If you call yourself a Pink Floyd fan and this show is coming anywhere close to you, don’t even question it. See it.

All photos credit to Ryan O'Malley

Summer in the City

There really is no better city in the summer than Chicago. Some say it’s everyone busting out of their skin from all of the winter hibernation, but I say it’s because Chicago is filled to the brim with culture and summer is when we have the chance to shine.

So, here we are again, facing another incredible summer of music in the City of Big Shoulders. Lean on me bro, as we take a little look into what’s in store. And just to give you an idea of how serious things are about to get, try this on for size: The season gets kicked off with a member of one of the greatest bands of all time playing an iconic album in a historic baseball stadium. Seems about right to me!

Notable Single Shows

• Roger Waters – Friday, June 8 (Wrigley Field)
• Deer Tick w/ Scott Lucas & the Married Men, Turbo Fruits – Saturday, June 9 (Metro)
• Earth Wind & Fire – Saturday, June 9 (Ravinia)
• Miranda Lambert, Brad Paisley – Saturday, June 9 (Wrigley Field)
• Radiohead – Sunday, June 10 (First Midwest Bank Amphitheatre)
• Dennis DeYoung – Thursday, June 14 (Navy Pier Rooftop)
• Moby – Saturday, June 16 (Congress Theater)
• Bruce Hornsby w/ Van Ghost – Sunday, June 17 (Park West)
• Jimmy Cliff – Sunday, June 17 (Ravinia)
• Foster the People w/ Tokyo Police Club, Kimbra – Wednesday, June 20 (Congress Theater)
• Mogwai w/ Balam Acab – Wednesday, June 20 (Metro)
• Keane w/ Mystery Jets – Friday, June 22 (The Vic Theatre)
• Aerosmith w/ Cheap Trick – Friday, June 22 (United Center)
• Styx and REO Speedwagon – Sunday, June 24 (Charter One Pavilion)
• Scissor Sisters – Sunday, June 24 (The Vic Theatre)
• Glen Hansard – Tuesday, June 26 (The Vic Theatre)
• Glen Campbell – Thursday, June 28 (Ravinia)
• Aretha Franklin w/ The Impressions – Saturday, June 30 (Arie Crown Theater)
• David Gray – Saturday, June 30 (House of Blues)
• Jimmy Buffet – Saturday, June 30 (First Midwest Bank Amphitheatre)
• Sarah McLachlan – Saturday, June 30 (Ravinia)
• Neil Diamond – Friday, July 6 (United Center)
• Tenacious D – Saturday, July 7 (Aragon Ballroom)
• Barenaked Ladies, Blues Traveler, Big Head Todd and the Monsters, Cracker – Monday, July 9 (Charter One Pavilion)
• Blitzen Trapper – Monday, July 9 (Lincoln Hall)
• Santana – Monday, July 9 (Ravinia)
• The Blues Brothers feat. Dan Aykroyd and Jim Belushi – Wednesday, July 11 (Ravinia)
• Barry Manilow – Friday, July 13 (Chicago Theatre)
• Diana Krall – Tuesday, July 17 (Ravinia)
• Tedeschi Trucks Band – Wednesday, July 18 (Ravinia)
• Bodeans – Friday, July 20 (Ravinia)
• Seal and Macy Gray – Sunday, July 22 (Ravinia)
• James Taylor – Friday, July 27 & Saturday, July 28 (Ravinia)
• Chicago – Saturday, July 28 (Charter One Pavilion)
• Rascal Flatts – Saturday, July 28 (First Midwest Bank Amphitheatre)
• Crosby, Stills & Nash – Friday, August 3 (Ravinia)
• Matisyahu w/ The Dirty Heads – Tuesday, August 7 (Congress Theater)
• Garbage – Tuesday, August 7 (Metro)
• Coldplay w/ Marina and the Diamonds, Charli XCX – Tuesday, August 7 & Wednesday, August 8 (United Center)
• Rufus Wainwright – Wednesday, August 8 (Bank of America Theatre)
• Huey Lewis and The News & Joe Cocker – Friday, August 10 (Ravinia)
• Train – Saturday, August 11 & Sunday, August 12 (Ravinia)
• 311 w/ Slightly Stoopid, The Aggrolites – Friday, August 17 (Charter One Pavilion)
• Tony Bennett – Saturday, August 18 (Ravinia)
• My Morning Jacket, Band of Horses – Wednesday, August 22 (Pritzker Pavilion)
• Gotye w/ Missy Higgins, Jonti – Friday, August 24 (Charter One Pavilion)
• Lyle Lovett – Friday, August 24 (Ravinia)
• John Hiatt and Combo – Sunday, August 26 (Ravinia)
• Duran Duran – Wednesday, August 29 (Ravinia)
• Daryl Hall & John Oates – Saturday, September 1 (Ravinia)
• Kelly Clarkson – Saturday, September 1 (First Midwest Bank Amphitheatre)
• Toby Keith – Sunday, September 2 (First Midwest Bank Amphitheatre)
• Umphrey’s McGee – Sunday, September 2 (Congress Theater)
• Bruce Springsteen – Friday, September 7 & Saturday, September 8 (Wrigley Field)
• Kiss and Motley Crue – Friday, September 7 (First Midwest Bank Amphitheatre)
• Buddy Guy w/ Johnny Lang – Saturday, September 15 (The Chicago Theatre)
• Rush – Saturday, September 15 (United Center)
• Fishbone – Sunday, September 16 (Congress Theater)
• Madonna – Wednesday, September 19 (United Center)
• Ani DiFranco – Tuesday, September 25 (The Vic Theatre)
• Peter Gabriel – Thursday, September 27 (United Center)
• The Avett Brothers – Friday, September 28 (Charter One Pavilion)

Special Venues

Jay Pritzker Pavilion
When it comes to music, you can’t do much better than free. The Grant Park Music Festival celebrates its 78^th season of free summertime classical music. Opening night is June 13 and it runs at least two, and sometimes three shows per week through August 18. So, pack a picnic and enjoy the world’s greatest music under the world’s greatest skyline. And if you go on Saturday, be sure to stick around for the Navy Pier fireworks.

Ravinia
The best shows from this year’s Ravinia calendar are noted above, but it really doesn’t even matter what you’re there to see. Gather some friends, get some cheap lawn tickets, pack a picnic (don’t forget the booze) and enjoy one of the most unique music venues around. Just keep in mind that they keep the lawn quiet for classical shows. So, if you want to gab with your pals, pick a rock show.

Neighborhood Festivals
Yeah, we agree, many of the hundreds of neighborhood festivals across Chicago are very similar. But as far as music goes, a few are making starting to stand out from the crowd. Green Music Fest (June 23-24),World’s Largest Block Party (June 29-30) and Wicker Park Fest (July 28-29), are among the best.

Local Festivals

Chicago Blues Festival – June 8 – 10 (Grant Park)
The largest free blues festival in the world and Chicago Blues Festival is the largest of Chicago’s music festivals. During three days, five stages and more than 500,000 blues fans, the fest proves Chicago is the “Blues Capital of the World.” This year’s highlights include Texas Johnny Brown, Floyd Taylor, Mavis Staples and many, many more.

Spring Awakening Music Festival – June 16 – 17 (Soldier Field)
This fest will make history this summer by being first dance music festival to take place both outside and inside of Soldier Field. Two-day passes are $120 and daily admittance is $65. Be sure to catch Moby, Afrojack and Skrillex.

Taste of Chicago – June 12-15 (Grant Park)
Besides the new dates, this year’s Taste also introduces a charge for seats at the Petrillo Music Shell. And a charge it is. $25 will let you rest your feet during Jennifer Hudson, Death Cab for Cutie and Chaka Khan. The Bud Light Stage is still free and it’s where you can catch Kids These Days and a special tribute day on the 14^th featuring the music of Woody Guthrie, Koko Taylor, Bruce Springsteen, Johnny Cash and Lynyrd Skynyrd.

Pitchfork Music Festival – June 13-15 (Union Park)
Hop on the Green Line and catch the first of two killer fests in Union Park. Individual day tickets are $45. Three-dday passes are sold out. Among the best of this year’s line-up is Sleigh Bells, Atlas Sound, Feist, Vampire Weekend, Beach House, Godspeed You! Black Emperor, Hot Chip, AraabMUZIK, A$AP Rocky, Grimes, Cloud Nothings and Liturgy.

Chicago Gospel Music Festival – June 21 – 24 (Millennium Park & Ellis Park)
Changing it up this year, the main part of Gospel Fest will be moving to Ellis Park (37^th and Cottage Grove). Don’t miss J. Moss, Fred Hammond, Take 6, Blind Boys of Alabama and Mary Mary.

Lollapalooza – August 3-5 (Grant Park)
More than 20 years since Lolla first blew our minds with bands like Soundgarden and Pearl Jam, the fest is now a who’s who of bands from around the world. To use the term highlights seems a bit understated, but yet again we’ll get a taste of the best with The Black Keys, Black Sabbath, Red Hot Chili Peppers, Avicii, Jack White, Florence and the Machine, The Shins, Bassnectar, Franz Ferdinand, JJ Grey & Mofro, Trampled by Turtles and Miike Snow. Single day tickets are all that’s left at $95 a pop.

Chicago Jazz Festival – August 30 – September 2 (Grant Park)

The 34^th annual Chicago Jazz Festival is a great way to wind down the summer music scene in Chicago. It’s definitely more geared towards jazz aficionados than, say, the New Orleans version. But don’t let that deter you. There’s definitely a little something for everyone. Roy Hayes, Dianne Reeves and Allen Toussaint headline this year’s gathering.

North Coast Music Festival – August 31 – September 2 (Union Park)
Put on by a collaboration of independent promoters in Chicago, this one has that special, local vibe to it. Chicago-favorites Umphrey’s McGee, Pretty Lights, Paul Oakenfold, Future Rock, Wyllys & The NY Hustler Ensemble, Family Groove Company all add to it too.

Riot Fest and Carnival – September 14-16 (Humbolt Park)
Hosted in Chicago and Philadelphia, Riot Fest and Carnival will get your head banging with Rise Against, A Day to Remember, The Offspring, Alkaline Trio, Built to Spill, Dropkick Murphys, Elvis Costello, Fishbone, GWAR, Less than Jake, The Jesus and Mary Chain, and Rev. Horton Heat.

Near Chicago

Alpine Valley (Elkhorn, WI)
Phish – June 30, July 1
Dave Matthews Band – July 6, 7
Jimmy Buffet – August 25
Kiss & Motley Crue – September 8

Deer Creek (Klipsch) (Noblesville, IN)
Dave Matthews Band – June 22, 23
Phish – June 28, 29
Iron Maiden – July 19
Jimmy Buffet – July 31
Kiss & Motley Crue – September 1

All Good Music Festival and Campout – July 19 – 22 (Thornville, OH)
Get your fill of jam bands right here! The pioneers of the genre are among this year’s headliners: The Allman Brothers Band, Phil Lesh & Friends, Bob Weir & Bruce Hornsby and Mickey Hart Band. There’s plenty from the modern era too, including Yonder Mountain String Band, G. Love & Special Sauce, Railroad Earth, The Wood Brothers and Trampled by Turtles. Tickets are only sold in four-day passes for $199 in advance. Looks like they’ll be closer to $250 at the gate.

Jammin’ on the Wolf – July 26 – 28 (Langlade, WI)
Getting bigger and better every year, this mostly-trancefusion fest features three stages and three days of solid music, mostly from the Midwest area. Break Science, Wyllys & the New York Hustler Ensemble, This Must Be the Band and The New Fuse are among more than 40 bands scheduled to play. Three-day passes are $100 in advance and $125 at the door for VIP and $75 and $90 (respectively) for general admission.

Lou Fest – August 25-26 (St. Louis, MO)
Year three and getting nothing but better. St. Louis as a city continues to make big strides towards putting itself back on the cultural map and Lou Fest is a great example. Still small but getting bigger, this year’s notables are The Flaming Lips, Girl Talk, Dinosaur Jr. and Phantogram. Two-day passes are $70, or you can grab individual days for $40 each.

Late to the Party:

Seeing as we’re all human, there are occasionally going to be bands and albums that we just flat out miss…at least for a while. Welcome to what I call, “Late to the Party.”

~~~

Bing Crosby. Frank Sinatra. Barbara Streisand. The Carpenters. These are the artists we can thank for some of the most classic Christmas albums. These are the albums our parents would dust off each November and throw on the record player. They’re the ones that, when they pop up on iTunes, take us back to our childhood, running around the house in footie pjs counting the days till the Big Man comes. Surprisingly though, there is one iconic name missing from this list of classics. Where the hell is Ray Charles?!

Sure, The Spirit of Christmas didn’t come out until the mid-80’s, but that’s no reason for it to not be a classic. In fact, I would argue it deserves a spot right up there with the rest. First of all, it’s Ray f-ing Charles we’re talking about here. You know it’s going to be good. Second, he doesn’t just dial it in, half-assing the same old tired tunes you would expect. Yeah, there’s some traditional ones like “Drummer Boy,” “Rudolph” and “Winter Wonderland,” but there’s also the much lesser-knowns like “This Time of the Year,” “That Spirit of Christmas,” “All I Want for Christmas,” and “Christmas in My Heart.” And regardless of if their popularity, every track has that great Ray Charles flair that seems to span generations. Take “What Child Is This?” for example. It starts true to its “Greensleeves” roots, but just a minute and a half in, he double-times the tempo and turns it into a big band, swing tune, almost entirely abandoning the main theme.

The album features all of your favorite Ray Charles elements: the dirty, raspy voice; the Fender Rhodes he made so popular (remember The Blues Brothers?); the jazz meets gospel meets blues style only he could perfect; and let’s not forget the ladies. The Spirit of Christmas takes holiday tunes to a whole new level. And apparently I’m not the only one who thinks this way. Remember the scene in Christmas Vacation where Clark is locked in the attic watching old family movies? Yup, that’s “That Spirit of Christmas” playing. His version of “Winter Wonderland” also appeared in When Harry Met Sally and Elf. So, it has gotten some recognition, but it deserves some more.

If you are a fan of holiday music and need a change of pace, or even if you’re not but like Ray, give this one a spin this year. If you don’t like either holiday music or Ray, well, I’m not sure there’s much hope for you. But before we go, can we talk about the album art for a second? Is he really driving that sleigh?

Watch footage from the 2003 concert, Ray Charles Celebrates A Gospel Christmas, recorded just a year before his passing:

She and Him - A Very She and Him Christmas

It's that time of the year when the world falls in love…and when our auditory system is assailed with an endless barrage of Christmas songs. One can't step inside an office building, retail store or restaurant or turn on the tv or radio without hearing sleigh bells and a chorus of voices reminding us how wonderful and joyous the season is. And like clockwork, the new release shelves are full of the latest attempts, by popular and washed-up artists alike, at reinventing tired classics like “Jingle Bells” and “We Wish You a Merry Christmas.” But, every great once in a while, if you have the time and patience to weed through the Mariah Careys and Scott Weilands, you can find one that actually offers at least a touch of originality. This year, newcomers She & Him have given us such a gift.

Have you seen Elf? If you have ever sat through a Christmas movie and not wanted to gouge your eyes out and haven’t seen Elf, put it on your list for this year. For those that have, you are probably in the camp that, when Zooey Deschanel sings “Baby It’s Cold Outside,” thought to yourself, wow she’s got a great voice! Apparently Oregon singer-songwriter Matt Ward (M. Ward) is too.

Asked to record a duet for the closing credits of the film The Go-Getter, in which Deschanel had a leading role, she and Ward immediately formed a bond over their similar musical interests and decided to collaborate further, using songs from her secret stash of previous self-recorded tunes. Since then, She & Him have released two studio albums, Volume One and Volume Two, to positive critical analysis. A mix of originals and covers, the albums bring a sound that is both original and classic at the same time. The same can absolutely be said of their latest effort, A Very She & Him Christmas.

Foregoing the big band, big sound album, A Very She & Him Christmas stays true to the She & Him style as a fairly stripped-down, bare-bones take on some winter classics. More coffee shop than concert hall, Ward’s Gibson and acoustic guitars provide the foundation for most of the tunes, with occasional additions of piano and drums. Deschanel’s voice matches her quiet and sweet personality, kind of what you might expect from PJ Harvey if she wasn’t so damn angry.

What’s probably most impressive, though, is the song selection. Rather than forcing an album-full of songs to meet their style, they go after 12 that all seem a natural fit. Hits like the Beach Boys’ “Christmas Day” and “Little Saint Nick”, the Elvis favorite “Blue Christmas,” and even Joey Spampinato’s “Christmas Wish” all suit the duo well and make for a much more pleasurable listening experience than if they had gone with the more typical choices. For those expecting the Elf version of “Baby It’s Cold Outside,” that would have been too obvious. Not only is this version faster, they also chose to go with the Miss Piggy/Rudolf Nureyev role-reversal version (thanks to Dolph Chaney for that amazing reference).

Producing a Christmas album that encompasses any sort of originality could truly be one of music’s greatest tasks. How in the world can someone be expected to take something so overdone and make it sound new again? This is why, for the most part, the new releases can be pretty much ignored, save for those put out by your favorite artist…and even then it’s not always a welcome addition. A Very She & Him Christmas, however, is certainly an admirable effort. No, it’s not the most original option out there (that award still goes to Bela Fleck and the Flecktones, Jingle All the Way), but it is definitely a good attempt. In fact, while most musicians seem to put out Christmas albums because they don’t know what else to do, She & Him, like the Flecktones, seem to have put theirs out because they actually felt they could bring something new to the scene. And that they did.

Rating
Overall: 4/5
Originality: 4/5 (all things considered)
Production: 3/5
Listenability: 5/5

Watch their recent appearance on Leno:

Jennifer Hartswick - Ocean Floor

Getting to play regularly with one of the world's best guitarists might be enough for most musicians, but not Jennifer Hartswick. This Vermont native isn't content serving as some one else's support. A dual threat with a powerful, soulful voice and both technical and improvisational proficiency on the trumpet, Hartswick is beginning to make a name for herself outside of Trey Anastasio's world, and her latest album, Ocean Floor, is another notch on her belt of independence.

Mostly r&b meets soul, her self-produced sophomore effort (and first of entirely originals) might not blow everyone away, but it will absolutely give a glimpse into the talent that is there for the taking. Joined by Nicholas Cassarino (guitar), Dezron Douglas (bass), John Davidian (keys) and Cory Healy (drums), Hartswick leads each of the eight tracks with confidence but also looseness, never becoming too rigid or structured, giving plenty of time to the band to showcase their skills.

Starting with a trio of fairly standard r&b tunes, the one thing that immediately stands out is Hartswick's voice. You hear it two and a half minutes into "Liar." There is no doubt this girl can sing. It's the title track though that gives Hartswick the chance to display some originality, as well as the softer side of her voice. It is also her first appearance on trumpet, immediately adding a new flavor to the standard set-up. A dip into freeform jazz, "Ocean Floor" is easily a highlight.

"On and On" is an around-the-horn standard, giving each of the artists a chance on the solo floor. But, again, it's the down-tempo "Possibility" that, like "Ocean Floor," seems to stand out. Highlighting Hartswick's vocals and trumpet, Davidians work on the Rhodes adds a soft and subtle touch, complimenting the tune nicely. The snap-funk of "Walk Away" serves as the juicy meat of a ballad sandwich, and is the most attention-grabbing of the up-tempo tunes with some blaring sax and back-up vocals.

A sharp departure from the hard r&b of the other tunes with the acoustic guitar and piano, "Let Go" is absolutely one of the best tracks. Closer to what you'd expect a female Dave Matthews to sound like, it's not a bad way to end the album. It may even give her a launching point for her next work.

Ocean Floor is largely a fine album, and definitely leaves us wanting more. It is absolutely clear that Hartswick has tremendous talent. You can hear it in her work with Anastasio, and it's obvious on Ocean Floor. Perhaps as she becomes more comfortable in the spotlight she will expand her reach, going beyond the traditional and creating a sound that is truly her own. We can only hope because she surely has a gift to give.

Rating
Overall: 3/5
Originality: 2/5
Production: 2/5
Listenability: 3.5/5

Late to the Party: Muse

Building my musical foundation on the likes of Pink Floyd, Led Zepplin, The Beatles, and Radiohead it’s amazing that a band like Muse could slip entirely under my radar until recently. Filled with all of the depth and fortitude, drama and excitement, creativity and precision of these others, the English trio brings with them a sound that, while bearing similarities, also brings an incredible amount of originality.

Looking to pinhole Muse into one specific category would prove to be a nearly impossible task. They certainly don’t span every genre, but they do touch enough that labeling them with one would be a disservice. Undoubtedly a rock base, they weave their way in and out of alternative (watch: “Knights of Cydonia“), drama (watch: “Time Is Running Out“) and space rock, metal (watch: “Stockholm Syndrome“), electronica, and classical, and amazingly enough there isn’t one moment in any of these when it seems like they’re not in the right place.

School friends Matthew Bellamy (lead vocals, guitars, piano, keyboards, keytar), Dominic Howard (drums, percussion, synthesisers, sampling, harmtar) and Christopher Wolstenholme (bass, backing vocals, keyboards, guitars, harmonica) are able to produce a sound much fuller than their numbers would suggest. Yes, they unabashedly take advantage of multi-tracking in the studio, but even live (often joined by multi-instrumentalist Morgan Nicholls), they are able to fill the venue with an intense and energetic aura that is truly amazing.

Looking for the closest similarities, Radiohead and Queen instantly come to mind. Bellamy exudes some of the same vocal characteristics as Thom Yorke, and the band’s frequent use of multi-part harmonies along with emotional composition and emphatic climaxes will definitely take you back to the days of A Night at the Opera. But that’s not all. Bellamy’s vocals could easily just be compared to those of Rufus Wainwright, and, as a band, there are definitely tones of Keane, Coldplay, The Killers, a even a tad of Weezer, among many others.

Since 1999, the band has put out five studio albums, all of which are exemplary. The most recent, however, Black Holes and Revelations, easily takes the cake. From the opening track (watch: “Take a Bow“) they are right in your face and don’t ease up for even a second. It’s not surprising that it’s this same album that earned them a Mercury Prize nomination as well as ranking of third in the NME Albums of the Year list for 2006. They are hoping to release their sixth album in the fall of 2012.

Most of the people I’ve talked to either have never heard of Muse or know a song or two from the radio but have never really explored them with any purpose. The packed stadiums clearly indicate I have not spoken with the masses, but to those who fall into the categories above, do yourself a favor and give them a(nother) chance. There is far too much good in what they do to be ignored.

Take a look, it's in a book...

The Goat Rodeo Sessions

Some bands, some albums, some songs are beyond technical critique. The talent and proficiency is so refined that, unless the critic is equally as well-versed, there will inevitably be a gap between the product and the comprehension. When Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile get together, such a product is born.

Many musicians have brought their instruments into the spotlight with innovative and exemplary playing. It is arguable, though, that none have done so with as much prestige as Yo-Yo Ma. In fact, while it’s easy to bring up other guitarists than Hendrix, other bassists than Flea, and other drummers than Buddy Rich, it may prove more difficult to think of even a name of another cellist, much less one as on the forefront as Ma. Having played for numerous presidents and world leaders and with the top musicians from virtually every genre of music, Ma has become a symbol of greatness.

Joined by the lesser known but equally as inventive Duncan, Meyer and Thile, The Goat Rodeo Sessions is a collaboration that makes even the most popular supergroup seem like a band of scrubs. Each member adds their touch of individuality while meshing nearly perfectly with the others. It’s this individualism and cooperation, combined with astounding composition accounting for these two variables that lead to the album title itself.

According to the urban dictionary, “A goat rodeo is about the most polite term used by aviation people and others in higher risk situations to describe a scenario that requires about 100 things to go right at once if you intend to walk away from it.” Initial analysis of this definition may lean more towards chaos than harmony, but it is the latter that’s the reality. These are four outstanding musicians, all from various backgrounds but all with unifying characteristics, penning arrangements that require each note, each phrase and each instrument to be played with such precision that even the slightest hiccup could ruin the piece. Even though Ma’s name is first on the cover, make no mistake, this is a group effort, lead by each member at various times. In fact, with Ma’s cello, Meyer’s double bass and Duncan’s fiddle, it’s Thile and his mandolin that are often the most distinguishable, adding chunk and snap to the otherwise smooth flow of the bows. Perhaps Meyer said it best himself, “We chose this group of people based more on who the individuals were and their voices than what would be an ideal instrumentation, because there is no getting around the fact that violin, bowed bass and cello and mandolin is not an ideal instrumentation.”

Each member certainly brings their own personality to the album, but The Goat Rodeo Sessions is a complete work with as much thought put into how everyone relates to each other as how they work on their own. Ma brings the classical fortitude, Meyer the high Appalachian sound, Duncan the classic Americana and Thile the modern bluegrass. The result is a seamless weave that gives the listener the amazing choice of who they want to focus on at any given time, be it one, two, three or all four at once.

From the opening track “Attaboy,” you can hear exactly what this weave is all about. In fact, watching it might help make it clearer. No one member is more important than the other, and without one, the rest cannot complete the piece. This is the way it goes for the rest of the album. And as a bonus, several tracks give them a chance to show they aren’t limited to their main instruments alone. Duncan picks up banjo for “Helping Hand,” “Less Is Moi,” and “Here and “Heaven”. Thile shows his versatility with a steel-string guitar on “Helping Hand” along with a gamba and some outstanding vocals (joined by Aoife O’Donovan from Crooked Still) on “Here and Heaven” and “No One but You.” And last but certainly not least, Meyer’s piano work on “Franz and the Eagle” is superb for someone who hasn’t already mastered the bass, much less someone who has.

The Goat Rodeo Sessions certainly isn’t going to be a universally loved album. But for anyone with an affinity for classical, bluegrass, classic country, folk or even jazz, it is absolutely worth a listen. Heck, even if you don’t tend to like those styles, it’s worth giving this a try. Life is just far too short to not take time to appreciate the best of what the world has to offer, and this is one of those contributions.

Rating
Overall: 4.5/5
Originality: 4.5/5
Production: 5/5
Listenability: 4/5

Deer Tick - Divine Providence

The little known, and relatively new group, Deer Tick, is a near poster child for independent music. Getting their start in 2004 in Providence, Rhode Island, the now-quintet (John McCauley – guitar, vocals; Ian O’Neil – guitar, vocals; Chris Ryan – bass, vocals; Rob Crowell – keys, saxophone, vocals; Dennis Ryan – drums, vocals) fits the mold almost perfectly. Their folk roots mesh well with the clear influences from a variety of genres like country, blues, rock, punk and even, dare I say, the slightest touch of pop. Their dirty, sometimes cheap tone, gives them that “we don’t give a fuck” sound. Hell, even their website gives off a “we don’t need no stinkin’ corporate money” vibe. And this can all be felt in their latest, Divine Providence.

The fourth album in their repertoire, Divine Providence is as straight forward an album as any indie fan could want. Nothing fancy, nothing revolutionary, and also nothing stale. It’s just five guys, their instruments and some no-bullshit emotion, all smashed together in a collective effort that rocks you…and them.

It’s not every day a band starts an album with a call-and-answer tune. And can you find the one moment in “The Bump” when McCauley channels his inner Johnny Cash? “Funny Word” is a sax solo and strutting lead singer away from being a Rolling Stones tune. “Let’s All Go to the Bar” really needs no comments, other than to say that pretty much every one of us has been on either the giving or receiving end of this conversation. The Johnny that’s got a bottle of wine in “Something to Brag About” might just remind you of another Johnny…that one from deep down in Louisiana, close to New Orleans. How about throwing in a hidden/bonus track as an homage to cigarettes. Why not?

There’s also the more subdued “Clownin’ Around,” “Main Street” and “Chevy Express,” the needy “Electric,” and the downright charming “Now It’s Your Turn” and “Miss K.” So, it’s not necessarily all fun and games. They have a serious side too.

Deer Tick is the band, and Divine Providence the album, you want playing in the bar. It evokes that beer- and whiskey-drinking desire–to be sitting around a table with friends, the music weaving in and out of your mind between the hearty laughs and angry diatribes that accompany such a night. And while it might not be the album you throw on with headphones hoping it takes you to your Zen place, it definitely is one you put on when you feel like just being human. Anger, humor, sarcasm and honesty, the emotions that get us through every day, they’re all there and you can feel them from start to finish.

Rating
Overall: 3.5/5
Originality: 3/5
Production: 2.5/5 (but that’s not a bad thing in this case)
Listenability: 4/5

Coldplay - Mylo Xyloto

In a world where dramarock is seemingly king, Coldplay has definitely made a respectable bid for the throne. In the company of greats like Radiohead and Muse, Coldplay continues to make strides towards supremacy. And whether you agree with the masses or not, it may not make a difference. Album after album, the British quartet delivers on that mass appeal it takes to reign, and well, if you’re not already on board, their latest release may just give you that chance.

Frontman Chris Martin once described Coldplay as “limestone rock.” Not quite hard rock, but definitely not…whatever rock isn’t, the foursome (Guy Berryman, bass; Jonny Buckland, lead guitar; Will Champion, drums, percussion, backing vocals) has that just-right mix of edge and sentiment. Mylo Xyloto, the band’s fifth album, is no different. However, while a band knowing its place and not over-reaching is generally a good thing, the album does, at times, need just a little bit more, a little something extra to make the tracks really stand out from each other. Nonetheless, each track on Mylo Xyloto does prove that the band is deliberate in their efforts to put out a product that’s imaginative and contains a certain amount of freshness.

After the brief title track intro, the album drops into the snappy “Hurts Like Heaven,” which is a start on the right foot. The glee club vocal effect and “You used your heart as a weapon, and it hurts like heaven” chorus are definitely attention grabbers and easily make this a highlight of the album. “Paradise” keeps the focus with its multi-tracked chorus and strings. And while “Charlie Brown” is adequate, it’s the first taste of that need for just a little extra, something to separate it from “Paradise.” Not that it’s structurally the same, but more that it’s too stylistically similar to evoke any feelings about it otherwise.

Conversely, just as quickly as that need for something extra presents itself, it is remedied with another highlight. “Us Against the World” removes the intensity of the previous tracks and leaves Martin almost entirely alone in an honest and emotional ballad, pledging his loyalty to his love in this otherwise dog-eat-dog world. Followed by the throw-away (and appropriately short) “M.M.I.X.,” “Every Teardrop Is a Waterfall,” the album’s first single, is a more melodic and fresher (there’s that word again) version of the fist-pumping club rock we’ve heard all too much of from the likes of the Black Eyed Peas. Keeping a nice balance, never letting the thumping bass take over, the tune definitely reenergizes the album after the mellow “Us Against the World.”

As a product of the 90s, it’s no surprise to hear influences of U2, R.E.M. and the other popular acts of that era. What is a welcome surprise is to hear the influences of more recent acts, like TV on the Radio. It can be heard at various points throughout the album, but the rockin’ “Major Minus,” with its falsetto vocals and leading bass, is the first time where it really comes to the front. The mellow and somewhat forgettable “U.F.O.” that follows is again a dip into the too-similar pool. Heck the opening chord is almost identical to “Major Minus,” and while it does deviate later on, it isn’t enough to make it stand out.

An unexpected appearance from Rihanna adds a nice touch to the otherwise mediocre, albeit robust, “Princess of China.” “Up in Flames” brings back some of that TV on the Radio with the tracked drums and falsetto chorus. “Don’t Let It Break Your Heart” really brings out that true Coldplay sound. The cyclic piano, driving guitar and drums and emblematic Martin vocals are the Coldplay calling card. It’s almost odd that it’s taken this long for it to really come through. As a closer, “Up With the Birds” unfortunately falls a little flat. It definitely isn’t a rocker, nor is it a peaceful send off. It falls somewhere in between and actually leaves an “Is that it?” feeling.

Mylo Xyloto delivers on many fronts and fails on a few. It doesn’t take many chances, but it is a solid work beginning to end. There are those few moments of needing more, but there are equally as many that deliver. So, it most likely won’t catapult them to the top, but it definitely maintains the pace. And really, Radiohead won’t be around forever…will they?

Rating
Overall: 3.5/5
Originality: 3/5
Production: 4/5
Listenability: 3.5/5

Ryan Adams - Ashes and Fire

Ryan Adams. Just say the name and you’re bound to get one of two reactions: love or hate. And while there are plenty of bands out there that elicit this same effect, Adams seems to have done so in a very different way. Many times the polarization of music lovers comes from the style of the band, loving those that fit your wants and desires and loathing those that don’t. Other times it comes from an understanding, hating those that you just don’t get and worshiping those touch your cerebral cortex. And while some might argue that those that don’t like Ryan Adams don’t understand him or that he’s just not their style, the deepest sentiment for Adams is much different. Adams has done something unique—he’s fit in.

Over 11 years, nine solo albums and four with The Cardinals, Ryan Adams has been remarkable at fitting in. He’s that guy at the party that never says anything controversial but changes his tone depending on who he’s hanging with. His friends love him because he’s the guy that anyone can talk to, and his enemies don’t because he seems disingenuous.

So, it is with a tinge of apprehension that I approached his latest release, Ashes and Fire. I just want to make sure I know who I’m talking to here.

Ashes and Fire opens with “Dirty Rain” and “Ashes & Fire,” two good openers, and, while not ground-breaking, they offer promise for an entertaining album to come. That is after all what we’re here for, right? To be entertained?

Well, that’s the end of that fun.

“Come Home” drops the album into an abyss of slow and sappy songs…a bland, ordinary and tiresome mix of tunes, none of which most musicians with an acoustic and four track couldn’t do themselves, and all of which you’ve heard before in some form or another. In fact, this may be the most frustrating thing about Ashes and Fire—it’s almost entirely unoriginal. It’s nothing new for Adams or for the genre in which he’s working. He’s done it before with albums like Gold and Heartbreaker. And his influences, ala Lyle Lovett, Iron and Wine, Band of Horses, Bob Dylan, Alison Krauss, have all done it better. Sure, there is always going to be someone that’s done it better, but when he spends so much time apparently trying to sound like these predecessors, it’s hard to provide that same forgiveness.

You see, Adams has always been a sponge and chameleon of sorts, absorbing the sounds of popular acts and changing his sound to fit. That’s what Ashes and Fire is—his continued blend into the acoustic folk scene, done without making the slightest splash. And if this is his goal, I’d say it’s mission accomplished. But if this is any attempt to make his mark on an already over-saturated market, my advice would be to leave it to the experts.

Rating
Overall: 1.5/5
Originality: 1/5
Production: 2.5/5
Listenability: 1/5

Wilco - The Whole Love

Over its respectable 17-year career, Wilco has, if nothing else, excelled at one thing: being quite average at making good music. This may seem harsh on the surface, but digging deeper it’s just another way of saying the music is good, but it’s not that good. Most of Wilco’s eight studio albums are a fine collection of tunes, many of which demonstrate an amount of thought and craftsmanship, especially Sky Blue Sky, but none necessarily providing that wow factor. In fact, Rolling Stone described Wilco as “one of America’s most consistently interesting bands,” and while it’s hard to disagree with that statement, it might be more appropriate to debate the intent of the word “interesting.”

Wilco is definitely interesting. It’s been an interesting collaboration of artists—a revolving door of members, all with their own talents, but none (besides lead Jeff Tweedy) ever truly standing out. It has an interesting catalog of songs and styles—a mixture of folk and rock with that tinge of indie punk, mostly enjoyable on the surface but often lacking in depth. So interesting is definitely appropriate, but maybe more as an explanation of what is missing rather than what is there.

The Whole Love, the band’s latest release, is unfortunately par for the course. It’s interesting. It’s interesting to contemplate why three minutes of the seven-minute opening track is wasted on pointless guitar noise. It’s interesting that the title to this same track is “The Art of Almost,” as that could practically be the summation of Wilco’s career—the art of almost being great. It’s interesting to hear tracks like “Dawned on Me,” “Capitol City” and “Whole Love” that bring out the best in the band and wonder what it is that the others are missing. It’s interesting to guess why a solid tune like “One Sunday Morning” would be effectively wrecked by stretching it over 12 long minutes, offering little-to-no variation along the way. Interesting indeed.

To be clear though, Wilco is not a bad band, and overall, The Whole Love, like the others, is decent. There’s talent present. There’s variety in styles and instrumentation among and within the tracks. There’s a degree of depth in structure. It’s not overly-aggressive but rather quite placid. But unfortunately it, like the others, is missing that one key element, that one extra piece that takes it from being just okay good music to really good music. Maybe it’s that the styles, while varied, are sometimes stale. Maybe it’s that the structures, while beyond elementary, can be hasty and end up repetitive as a result. To be honest, I’m not sure what it is. And if I thought encouraging words would make a difference, I would offer them, but unfortunately, I think we’ve seen the best they can and will offer.

Rating
Overall: 3/5
Originality: 2.5/5
Production: 3/5
Listenability: 3/5

Blitzen Trapper - American Goldwing

A wise man once discussed the beauty of those bands that astound for their creativity and uniqueness. Yeah? Well, maybe there’s just as much to be gotten from a band that absorbs its surroundings and assembles a sound that is equally as impressive for its comprehension and inclusion of what has come before it. Maybe in just one album you can hear traces of The Band, The Rolling Stones, The Byrds, Little Feat, John Hartford, Josh Ritter, Cat Stevens and even Sublime. And if there is such a thing, it’s Blitzen Trapper’s latest, American Goldwing.

Hailing from Portland, Oregon, Blitzen Trapper isn’t a newbie to the music scene, but it is definitely greener than its classic sound implies. Comprised of Eric Earley (guitar/vocals), Brian Adrian Koch (drums/vocals), Marty Marquis (guitar, keyboards, vocals), Erik Menteer (guitar/keyboard), and Michael VanPelt (bass), Blitzen Trapper is among a number of indie folk bands to come on the scene in the last decade. What separates their creation from the others though, is their ability to take something old and make it sound fresh and new.

Their six full-length album, and third under the Sub-Pop label, American Goldwing is an all-inclusive look at the greatest parts of the country- and folk-rock scenes. The acoustic guitar and piano play nice in the sandbox with the harmonica and electric guitar. Country twang meshes suitably with two- and three-part harmonies. Southern-roots rock opens the album with “Might Find It Cheap” and “Fletcher,” which yield to American folk with “Love The Way You Walk Away” and onto classic rock with “Your Cryin’ Eyes.” There is unity here.

Goldwing goes in and out, back and forth, adding enough stylistic, thematic and instrumental variety to keep the listener’s interest, while neither straying too far from the nest nor becoming stale. “Taking It Easy Too Long” offers just as much emotion as “Girl in a Goat,” and “American Goldwing” just as much heartland pride as “My Home Town”. “Street Fighting Sun” isn’t a surprise, but instead a reminder of how Goldwing began, and “Stranger in a Strange Land” is the send-off you’d expect from a band that wants you to enjoy what you’ve heard as much as they’ve enjoyed making it for you.

Truth be told, Blitzen Trapper probably won’t blow you away. There’s nothing flashy or overtly extraordinary about them. But that doesn’t mean they don’t fulfill their obligation as professional musicians—to create an honest product that pleases the ear. Not every band has to be the next big thing. In fact, it is those that know their place, that play what they know to be true and don’t try to be something they aren’t that accomplish the most. American Goldwing is the paradigm of this thought, and, as long as you don’t gauge accomplishment solely in dollars, it should be thought of as a hit.

Rating:
Overall: 3.5/5
Originality: 3.5/5
Production: 3.5/5
Listenability: 4.5/5

Primus - Green Naugahyde

Don’t you just love those few-and-far-between bands? They’re truly like no other. Sure they have a hint of this or a touch of that (other band) in them, but for the most part they are one-of-a-kind. Even if it’s not your cup of tea as far as genre is concerned, it’s always impressive to hear it and what separates it from the pack. For me, Primus is this band.

Even though one might need a graph to keep the members straight, one thing has remained the same: Primus has made some of the most unique music to ever hit the hard rock/metal scene. Founding (and constant) member Les Claypool (bass/vocals) has all of the best characteristics. Bizarre, angry, funny, and exceptional, he is inarguably the foundation of this group of misfits. Joined by guitarist Larry “Ler” LaLonde (1989 – present) and drummer Jay Lane (1988, 2010 – present), they are a combination of sounds and talents genuinely in a league of their own.

Green Naugahyde, the trios seventh full-length studio album and first in almost 12 years, is an extension of the Primus of old and brings an energy that is refreshing and, at the same time, somewhat disturbing. All the elements of old Primus are there. Claypool is an all-star on the bass–an absolute mastermind ala Victor Wooten, Jaco Pastorious and Geddy Lee, bassists that transformed the its role in music. Slapping, strumming, picking, bowing, Claypool brings the bass from the background to front and center, taking over the lead of tunes with jaw-dropping creativity and accuracy. LaLonde does a superb job of keeping up, complimenting Claypool at every turn, while simultaneously adding his own chaos. And the “team player award” goes to Lane, laying down a steadfast foundation for all of this madness and never staggering on sick lick after sick lick.

Although, the most stand-out characteristics of Naugahyde may be its lyrics. An overt statement on current American society, it seems to leave no stone unturned. Pop culture (“Eyes of the Squirrel,” “Moron TV”), the environment (“Last Salmon Man”), capitalistim and economic woes (“Eternal Consumption Engine,” “Hoinfodoman”), and movie stars (“Lee Van Cleef”), Claypool pops the cork on all of the emotions he’s bottled up over the past decade, and to be honest, I’m not sure how I feel about it. He avoids going all-out political and focuses more on the man rather than the machine. For the post part, I’m in his boat, but there’s something odd about it…something unsettling. Maybe because it’s so overt. Maybe because that exactly what he wants. Who knows. Let’s just say, you probably won’t walk away from this with a smile on your face. But did you expect to?

That aside, for those new to Primus, Green Naugahyde is as good a place as any to start. It’s hard to expect anything quite as good as Sailing the Seas of Cheese–like Pink Floyd after Darkside–but Naugahyde does fit well in the catalog and is hopefully a sign of more to come. Primus is just too good of a thing lose.

Rating
Overall: 4/5
Originality: 5/5
Production: 4/5
Listenability: 4/5