Foo Fighters - Wasting Light

You’re in. You’re out. We’re up. We’re down. Eight words to describe the ever-changing career of Foo Fighters. But over their roughly 17-year existence, all with a seemingly revolving door of band mates, producers and studios, one thing has remained constant—Dave Grohl’s dedication to producing the best music possible. Many times he has succeeded, and a few times he hasn’t, but the drive has always been there. And while there might not be anything remarkable about the band’s latest release, you can hear that behind every song is a guy who loves making music and hasn’t waned in his dedication to making that music sound as good as he can.

The seventh Foo Fighters studio album, Wasting Light was released in April to generally wide acclaim. As a lead up to the debut, the band released the first single, “Rope” in February and it reached #1 on Billboard’s Rock Chart. The album itself reached #1 on Billboard’s 200, a ranking of the 200 highest-selling music albums and EPs in the United States, making it the first such honor for the band in the U.S. But what is it? What pushed this one through that threshold while still furling the brows of the old school crowd?

Perhaps the most notable thing about Wasting Light is that it doesn’t necessary sound like a new album. While Grohl and company continue to evolve from their grunge roots of the early 90s, when listening to Wasting Light you get the idea that this very well could have come out 10 years ago, and that’s not necessarily a bad thing…or an accident. Recorded in Grohl’s garage onto analog tape, the tunes don’t incorporate much in the way of cutting-edge musicianship but rather get back to the basics of a guy and his band doing what they love and what they do best.

Many albums can be picked apart, going song by song and digging deep into what it’s made of, but that seems inappropriate for Wasting Light. Yes, there are things that separate each song from the next, but there isn’t any aspect of any one song that makes it truly stand out above the others. Sure, each individual listener is sure to come up with his or her favorite, but the biggest accomplishment of this album is that it truly is 13 tracks strong.

If you like Tool, maybe you’ll dig the grinding opening track “Bridge Burning.” If you’re a Nirvana fan, you might notice something familiar in “I Should Have Known.” Maybe the radio-friendly “Walk” will catch your ear. Hell, you might even be surprised to find the Deadmau5 remix of “Rope” is topping the list, but really, if you like modern rock, you’ll probably like the whole damn thing.

Of course there are diehards out there who think Grohl didn’t take enough of a leap with this one or that he’s edging too close to the middle, but sometimes progress doesn’t always come in huge chunks nor does it need to. The ability to produce an album that delivers from start to finish is becoming a lost art. So to those naysayers I would suggest comparing the total project of Wasting Light to those of their favorites, even past Foo Fighters albums, and then re-evaluating. This isn’t to say that doing so will push Wasting Light to the top five all time list or anything, but it should give a new appreciation for the overall effort put forth. And if not, well, who knows what the future will bring. This is, after all, Foo Fighters we’re talking about.

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

Available on MyPlayDirect, iTunes and Amazon

Summer in the City

Baseball on the northside. Baseball on the southside. Street fairs. Fireworks. Trixies in their skivvies. And, oh yes, the music. Summer in Chicago truly is like no other. We’ve all been pent up in our apartments and condos for what seems like nine months waiting for Old Man Winter to pack his bags and get the hell out of town. And now, ahhhhh, summer. Walking, biking, swimming, lounging, eating, drinking (a lot) and listening. These are the words that define the what seems to be all-too-short of a summer in Chicago.

For die hard and casual music lovers alike, one of the best parts of summer in Chicago is the endless opportunities to see any kind of music in a number of awesome and unique settings. Here are a few highlights from the national acts making stops in town, as well as some great festivals both in town and across the country.

Notable Single Shows
· Neil Young w/ Bert Jansch (May 6-7 – Chicago Theatre)
· Elvis Costello (May 15 – Chicago Theatre)
· Warren Haynes Band (May 16 – Park West)
· Paul Simon (May 16—The Vic; May 17 – Chicago Theatre)
· The Cars (May 18 – Riviera Theatre)
· Grace Potter and the Nocturnals (June 3 – House of Blues)
· Leo Kottke (June 4 – Old Town School of Folk Music)
· Panic at the Disco (June 8 – Riviera Theatre)
· The Beach Boys (June 9 – Auditorium Theatre)
· Robert Plant (June 16 – Ravinia)
· My Morning Jacket w/ Daniel Martin Moore (June 17 – Auditorium Theatre)
· Earth, Wind & Fire (June 21 – Charter One Pavilion at Northerly Island)
· Daryl Hall & John Oats (June 26 – Ravinia)
· Jethro Tull (June 26 – Chicago Theatre)
· Yo La Tengo (June 26 – Subterranean)
· Eddie Vedder & Glen Hansard (June 28-29 – Chicago Theatre)
· Peter Frampton (July 6 – Ravinia) · U2 w/ Interpol (July 5 – Soldier Field)
· The Flaming Lips (July 7-8 – Aragon Ballroom)
· 311 & Sublime (July 14 – Charter One Pavilion)
· Sierra Maestra & Susheela Raman (July 14 – Jay Pritzker Pavilion)
· The Steve Miller Band (Aug 4 – Chicago Theatre)
· Steely Dan (August 12-13 – Ravinia)
· Rufus Wainright w/Chicago Symphony Orchestra (August 14 – Ravinia)
· Phish (August 15-17 – UIC Pavilion)
· Lyle Lovett & His Large Band (August 21 – Ravinia)
· John Hiatt and The Combo (September 11 – Ravinia)

Ravinia Festival
Possibly one of the best summertime attractions in Chicago, Ravinia is a great spot for music and picnic lovers alike. If the featured artist is one of your favorites, pony up the cash for a reserved seat in the pavilion. And if you are okay with simply hearing and not seeing the performance, buy a cheaper lawn ticket and sit on the grass amongst the trees. Bring your food and drink and enjoy an evening under the stars. There is plenty of parking, but if you don’t want to drive Metra drops off and picks up right at Ravinia’s doorstep.

Millennium Park
The Jay Pritzker Pavilion in Millennium Park is not only full of free music, it's a site worth seeing on its own, with its Gehry design paired with the backdrop of the country's greatest skyline. Similar to Ravinia, you are allowed to bring your picnic (and booze) with you, and for Wednesday and Saturday night concerts, be sure to stick around afterwards to watch the Navy Pier fireworks.

Neighborhood Festivals
You can catch any number of 80s and 90s cover bands and tribute acts to Led Zeppelin and Dave Matthews at any of the weekly street and neighborhood festivals around town. However, a few fests have really managed to break away from the mold and attract some great musical acts. Wicker Park Fest (July 23-24) has lead the pack.

Local Festivals
If you like your music in large doses, perhaps one of Chicago’s killer summer music festivals will grab your interest.

Chicago Blues Festival (June 10-12 – Grant Park): Chicago is definitely home to the blues, so it’s only appropriate that we host the world’s largest blues fest. Be sure to make it this year as blues greats from around the country honor Robert Johnson.

Dave Matthews Band Caravan (July 8-10 – Lakeside): Leave it to Dave Matthews to shit on our city and then come back with a kick-ass festival at a sweet location. David Gray, Ben Folds, Sharon Jones & the Dap-Kings and Soulive among others are joining in the fun of the three day fest along Chicago’s south shore of Lake Michigan. Dave may have outdone himself with this one. We’ll see, but all signs are positive at this point.

Pitchfork (July 15-17 – Union Park): Talk to anyone who’s been to Pitchfork and you will be hard pressed to hear anything negative about it. Highlighted by the indie-type bands, you won’t catch any stadium rock at this fest. You can save your hula-hooping and hand-dancing for somewhere else too. Check out Neko Case, Fleet Foxes and TV on the Radio at this year’s gathering.

Lollapalooza (August 5-7 – Grant Park): Celebrating its 20th anniversary, Lolla has called Chicago its home since 2005. The 2011 lineup will be announced April 26th, but never fear, there is always something for everyone.

Chicago Jazz Festival (September 1-3 – Grant Park): Much different from the New Orleans version, Chicago’s jazz fest is more for purists than those looking for their favorite jazzy rock act. If you’re new to the jazz scene, do yourself a favor and take in one of the instructional Q&As offered.

National Festivals
When planning that summer vacation, maybe your travels will take you through one of the hundreds of great and diverse music festivals around the country. Or hell, maybe even plan your vacation around one!

Beale Street Music Fest (April 29-May 1 – Memphis, TN): If there’s one thing besides barbeque that Memphis is good for, it’s the Memphis in May International Festival, and its Beal Street Music Fest.

New Orleans Jazz Fest (April 29-May 8 – New Orleans, LA): With its deep roots in music and constant selection of talent flowing through its venues, it’s amazing that New Orleans is more known for its Mardi Gras celebration than its Jazz Fest. So much music and so many neat places to see it.

Summer Camp (May 27-29 – Chilicothe, IL) Looking for a combination of untz, jam and bluegrass? Look no further than Summer Camp. Just a short drive from Chicago, this newer fest offers plenty in the way of music, but a little less in the way of diversity.

Bonnaroo (June 9-12 – Manchester, TN): Originally a one-stop-shop for all of your jam band needs, Bonnaroo has drastically spread its wings since its 2001 beginning.

Telluride Bluegrass Festival (June 16-19 – Telluride, CO): First and foremost a bluegrass festival, Telluride provides one of the most beautiful musical settings in the country. Nestled in southwest Colorado, Telluride welcomes its music lovers with open arms and hospitable hearts.

All Good Festival (July 14-17 – Masontown, WV): If you can’t make Summer Camp and your travels are taking you out east, never fear for All Good Festival is here. Actually Summer Camp’s older brother, All Good Fest brings much of the same as far as genres, but tends to draw a few bigger name acts.

Outside Lands (August 12-14 – San Francisco, CA): As if San Francisco wasn’t awesome enough on its own, they went and got themselves a music festival. Now in its fourth year, the Outside Lands fest is quickly becoming one of the most enticing draws of the summer with top acts.

Lou Fest (August 27-28 – St. Louis, MO): With only one other year under its belt, Lou Fest is the baby of the family, but shouldn’t be overlooked. Held in beautiful Forest Park in St. Louis, the fest should definitely be on your radar, especially being just a five hour drive from Chicago.

Listen to my broadcast of this piece on The Saturday Night Special.

Ancient Astronauts - Into Bass and Time

That’s a sick beat! What else you got?

Fairly or unfairly, this is a typical reaction when I listen to electronic music. For me, good music is about a number of things, but above all else, it’s about creativity. What are you doing that the guy before you didn’t already do? And when it comes to electronica and hip-hop—much of which is often sampled from other sources—there needs to be an even greater effort put towards not simply mashing together a collection of other people’s work, setting it on loop and calling it original. In other words, when constructing songs using a variety of samples, there needs to be something that not only distinguishes the song as original but also establishes an identity for the artist.

I might feel differently and cut a little more slack if it weren’t for the number of groups that have been incredibly successful at riding that balance between sampling and originality, all while creating a flavor that is distinctively theirs. Fatboy Slim and The Roots come to mind right away, and even lesser known groups like Thievery Corporation and Jurassic 5 have been able to create that unique sound without abandoning the fundamentals. Even more recently, bands like Disco Biscuits and Sound Tribe Sector 9 (STS9) have taken it a step further by, like The Roots, using instruments in addition to electronics and turntables, while also adding a heavy improvisational element.

Which brings us to the matter at hand: Ancient Astronauts and their sophomore release Into Bass and Time. This little-known duo from Cologne, Germany, named after a belief that extraterrestrial beings visited Earth in ancient times to mingle and trade ideas with early human civilizations, has produced a 15-track “journey” that is long on potential but short on execution. While in total the album does offer a diverse song selection, unfortunately each song doesn't offer enough depth on its own. Most songs start with a solid, original base, but by the end that base has been entirely played out and become so repetitive that it’s lost its initial appeal.

Not unlike their contemporaries, the Astronauts incorporate a variety of flavors through assorted samples and guest artists, all of which do add power and texture to the tracks to which they contribute. The dark and ethereal vocals of Phat Old Mamas on “Bitter Hypnotic” and the Arabian sway of Entropik on the aptly named “Peace in the East” are probably the best examples. So, it is not to say that Into Bass and Time is totally devoid of substance—quite to the contrary, in fact. It is full of substance. It’s just a matter of how they work this substance into its final product, and unfortunately, tracks like “Impossible,” “Eternal Searching,” “Rocket Science” and “Nocturne,” while all possessing some redeemable qualities, need a little more development and flavor added before being put on the table.

*sidebar*Can we please stop with the over-the-top, tell-me-how-I-should-feel self-promotion?! Just tell me what it is and let me make up my own mind about whether it takes me to the far reaches of the earth or makes me dance my ass off or blows me away. Take the description of Into Bass and Time for instance: “Prepare for a kaleidoscopic journey into bass and time! The Ancient Astronauts return once again from the far reaches of the musical cosmos with their stellar new sophomore album.” Really? Or how about the “We present something that the world has never heard before” intro to “Give It to You,” which leads right into a song that feels like something I have, in fact, heard quite a few times before. This seems more typical of the genre than specific to Ancient Astronauts, but regardless, how about adding a bit of humility to your work.*end sidebar*

Into Bass and Time is by no means a throw-away album. Ancient Astronauts have something going, but it’s just not yet enough to distinguish themselves from their counterparts in a field where, frankly, anyone with a computer and some sampling software can make an album. While I appreciate the ear it takes to compile this “kaleidoscope” of sound, just having that ear isn’t enough. What are you doing that the guy before you didn’t already do? I mean, that’s a sick beat and all, but what’s next?

Rating
Overall: 2.5/5
Originality: 2/5
Production: 3/5
Listenability: 3/5

Available at ESL Music, Amazon and iTunes

PJ Harvey - Let England Shake

Who is PJ Harvey? Who is the woman who has established herself so strongly as to have received five Grammy nominations and accolades as high as the number one female rock artist, all while still remaining a bit of an unknown? We’re talking about someone who hit the music scene strong in the late 80s and is continuing to demonstrate individuality almost 25 years later.

It is said that Harvey reinvents herself with every album, even going as far as changing her physical appearance to better fit the tone of the pieces on which she’s working. Let England Shake admittedly being my introduction to Harvey, perhaps it takes familiarity with her entire repertoire to fully appreciate the direction she took with this latest effort, to know all that has come to be and all that has influenced the mind and desires of Harvey. That aside, Let England Shake is an up-close, first-hand account of the world that Harvey sees today.

What seemed to grab my attention more than anything else in this album is that it almost seems out of place in 2011. The lyrics and musical style seem more appropriate for a late-60s Vietnam War protest. This is noticeable right away with the opening title track and continues both subtly and overtly throughout the album. But what separates this from the Woodstock rock that literally defined a generation of Americans, Harvey is speaking from an entirely new viewpoint, one analyzing the modern world and as an English(wo)man.

Seeming to be stuck in the middle of a love-hate relationship with her homeland, Harvey follows the reluctant concession of the title track with the reverence of “The Last Living Rose” and her anxiousness to return home to the enemy she knows and loves best. But turning right back around, “The Glorious Land,” complete with a heavy-handed cavalry charge, turns back to questioning the very foundation of England, and America too.

“The Words the Maketh Murder” is probably the most puzzling of all the tracks. Told from the perspective of a soldier returning from war, the graphic violence of the verses is offset by the catchy and yet still miserable chorus, one that you might even find yourself singing aloud to the confused and concerned looks of those around you…“these, these, these are the words…the words that maketh murder…” And it’s all summed up with a take on Eddie Cochran’s classic, “what if I take my problem to the United Nations.” Woah.

But hey, if that didn’t get you in the right mood, perhaps the opening line of “All and Everyone” will help set you right: “Death was everywhere.” Ah, yes. That did it. Harvey’s carrying some serious weight with her. And as if this weight of the present weren’t heavy enough, she insists we go back 80 years to “Battleship Hill” and reflect on the tears of the past.

The cringe-inducing instrumentals and vocals of “England” seem to be no accident as she revisits her torn feelings toward her country. And just to make sure you understand perfectly what the theme is here, “In the Dark Places” and “Bitter Branches” should put any argument to rest.

It’s only in the remaining two tracks that Harvey begins to lighten the mood, but in music only. The lyrics of “Hanging on the Wire” and “Colour of the Earth” are no reprieve from the darkness of its predecessors, but it is now that Harvey allows a glimmer of sunshine to break through with some soft piano and vocals and a Syd Barrett-like guest appearance by Mick Harvey (no relation), respectively.

Harvey’s own thoughts state that Let England Shake is not a political album. She says it’s simply her “looking outward.” While it might be true in that she doesn’t seem to favor one ideal over the other, there is clearly no shortage of political overtones, laments on death and war, and a viewpoint of someone who sees quite a bit wrong with the world. I can’t say as I disagree entirely, but I also can’t say that I want it all crammed into one album. In art, there is a delicate balance when dealing with depressing and morbid realities. Too little and one can seem dismissive. Too much and one can come off as engrossed and even despondent, and unfortunately it is the latter that Harvey accomplishes here. While this may be balanced by her other albums, here it prevents the album from standing on its own. Even more disappointing is that musically, Harvey achieves quite a lot, but the burden of the lyrics proves too much.

Rating
Overall: 3/5
Originality: 4/5
Production: 3.5/5
Listenability: 2/5

Available at Amazon.com and iTunes.

Late to the Party: Michael Jackson's This Is It

Indifference. If there’s one word that could describe my emotions when Michael Jackson died, this would be it. Indifference because the real Michael Jackson died long before. Indifference because it seemed a bit strange to mourn the loss of a crazed, accused pedophile. Indifference because the world now had one less drug-addicted celebrity to follow in the tabloids. That was it. Until This Is It.

Released in October of 2009 to much controversy, Michael Jackson’s This Is It is a collection of rehearsal footage from what was to be a 50-show run at London’s 02 Arena. Rumored to be part comeback, part retirement tour, the shows would have run from July 2009 through March 2010 but never happened due to Jackson's death 18 days before the first scheduled date.

Not usually impressed by aging rock stars hitting the road for over-priced reunion tours, I had little interest in the hype leading up to the shows, and even less interest in this film after Jackson’s death. Yet there seemed to be a nagging draw tugging at me to see this. Perhaps it was an urge to watch the car wreck and confirm that I was right all along, that Jackson had nothing left to offer. Or maybe it was a tinge of hope that the star of my childhood had just as much talent before dying as he did 25 years prior. And so, almost a year and a half after its release, I caved to the urge and am very glad I did.

This Is It is perhaps the greatest memorial Michael could have ever received. Proving that he shouldn’t be eulogized similar to the stroke or Alzheimer victim whose body lived far beyond his mind, This Is It demonstrates that the Michael we all came to love and admire was still very much alive, while unfortunately very hidden under a veil of mental illness and physical deterioration. Michael was just as talented and every bit as dedicated to entertaining his fans as he ever was. Watching him sing and dance his way through hit after hit after hit, all the while demanding and arguably achieving perfection from himself, his band and his dancers, the film almost makes you forget all of the baby-dangling, courthouse appearances and pedophile allegations that consumed the man who defined a generation of music. And so…

Sadness. If there’s one word that could describe my emotions after watching This Is It, sadness would be most accurate. Sadness for what could have been. Sadness for what was there all along but never known. Sadness for a man who personally was beyond hope, but professionally defined greatness. Sadness for the loss of one of the greatest music icons of all time.

Available for streaming via Netflix.

The Teletubbies' Work Here Is Done

He almost loses the string section during the nose pick, but the finish more than makes up for it.

Bela Fleck and the Flecktones - Jingle All the Way

There are pretty much only two camps when it comes to Bela Fleck and the Flecktones: Those who are fans and those who have never heard them. And selling a newcomer on them isn’t exactly easy, either. Jazz Banjo? Electric drums? Soprano sax? You mean like Kenny G? Yeah, well, just listen. Put aside any prejudices you have towards any of the above and resist the urge to be immediately critical and just listen. Bela Fleck (banjo), Jeff Coffin (woodwinds), Victor Wooten (bass) and Roy “Future Man” Wooten (percussion) have found an amazing way to take an unlikely combination of instruments and turn them into some of the most interesting, unique and awe-inspiring music available today. It doesn’t hurt that each one has, for all intents and purposes, mastered his particular craft, either.

With nine studio and two live albums under their belt, these virtuosos turned their attention to perhaps the most oversaturated market in music—a Christmas album. Have no fear though, Jingle All the Way isn’t your dad’s Christmas album. Well, actually, in my case it is, but you get my point. Let’s just say Anne Murray, Bing Crosby and Johnny Mathis may have paved the way, but the Flecktones have broken new ground and haven't exactly made it easy for those wishing to follow.

To start with, I’ve never heard a "Jingle Bells" use a tension and release technique, but somehow the quartet (with the help of Tuvan throat singers Alash Ensemble) has managed to do so. Without conjuring up any more innuendos than necessary, it's impressive how the anxious and driving chorus builds to a threshold before letting go into the the cathartic and calming verse, both eventually melding together in a suprising harmony.

The five-four time of "Silent Night" adds a unique touch to the traditional three-four, with Coffin taking the lead on soprano sax but leaving room for solos from Bela and Victor. And the half-time "Sleigh Ride" feels a bit more like a Clark Griswold slicked-up saucer ride than a horse-drawn ride with Charles Dickens.

As if playing as a group doesn’t demonstrate their expertise enough, many Flecktones albums also include complete solo numbers, usually by Bela or Victor, giving them a chance to really shine, and Wooten’s soft-hearted solo of "The Christmas Song" is yet another demonstration of his mastery of the bass. Effortless and tasteful, Wooten is able to add texture and dynamics to this classic on an instrument that is rarely featured alone, especially not on a holiday song.

Now, let’s just take a quick breath and collect ourselves because it is very hard to even write this next line…………Okay, here goes. The true highlight of Jingle All the Way is, without a doubt, "Twelve Days of Christmas." There. I said it. But before you close out your browser and dismiss any musical taste I have as poor, let’s think about this. In a way, it kind of makes sense. It would take musical geniuses to turn in an even tolerable rendition of Twelve Days of Christmas, and amazingly the Flecktones have gone even beyond that. When most song writers pen a tune it’s almost always in the standard four-four time. Maybe they’ll get a little creative and throw it in three-four or even five-four, but that’s about it. And maybe after a couple of rounds of verses and choruses, they’ll throw in a key change just to spice things up. Well, how about one song played in twelve different signatures and twelve different keys? Yes, you read that right. I’ll give you a minute to digest it. These bastards decided to not only play each day in a different key but also a different signature, each corresponding to its day, ie two-four for the second day, three-four for the third, five-four for the fifth and so on, all the way through all twelve days. AND that’s both up and back. So the ever so fun “twelve drummers, eleven pipers piping, ten lords a leaping…”? Yup, changing keys and time signatures all the way back down to one. You know what? Here, just watch.

Okay, so now that that’s done, what’s next? How about a little classical in the shape of Bach’s "Christmas Oratorio" (BVW 248 #41), bringing in Bela’s buddy in all things classical, Edgar Meyer on the double bass. Versions of Vince Guaraldi’s "Christmas Time is Here" and "Linus and Lucy" are spot on and not without some Flecktones flair.

The "Jingle Bells Reprise," again with the Tuvan singing, is the only unnecessary track on the album. It’s nothing against the Tuvan talent, but there isn’t enough variety in it to feature at now three different points in the album (the second being a brief appearance in Twelve Days). But short and to the point, it at least doesn’t overstay its welcome entirely.

I’m not sure if the inclusion of "The Hanukkah Waltz" is done to offer universality or just because it’s a great fit for the Flecktones, but either way it works. As does the second classical track, "Danse of the Sugar Plum Fairies."

And please welcome back Alash Ensemble! The only unfortunate thing about "What Child is This" is that it’s the 12th track. The now fourth appearance by Alash fits quite well with the orient-flavor the Flecktones put on the Greensleeves redo, but at this point it’s coming off as a tired gimmick, which any fan of the Flecktones knows they aren’t opposed to. But the redeeming factor is that the tune is actually quite well done, so I guess I’ll cut them some slack.

"O Come All Ye Faithful" is absolutely amazing, not necessarily for the fact that it’s very well played, but more for the fact that no member of the Flecktones plays on it. How completely unselfish to stand aside and allow two outstanding (and outsider) musicians take the stage, with Meyer returning on double bass and Andy Statman on mandolin.

The "Medley" is a really fun way of incorporating a number of traditional holiday tunes without the need to make a double disk album. Using "We Wish You a Merry Christmas" as the central theme, "Medley" also dabbles in "It’s Beginning to Look a Lot Like Christmas," "Rudolph," "My Favorite Things," "God Rest Ye Merry Gentlemen," "Little Drummer Boy," and "We Three Kings."

"Have Yourself a Merry Little Christmas" takes on a fun, bouncy feel almost reminding of "Baby It’s Cold Outside." And adding a touch of the modern, Bela plays both banjo and piano on his solo rendition of Joni Mitchell’s "River."

Thank you, good night! But while you leave, Bela will serenade you a bit more with his own Christmas medley as a solo bonus track.

Alright, so let’s just cut to the chase here. The only reason not to own this album is because you don’t like Christmas songs. Past that, I can’t think of any good reason. Don’t like the banjo? Don’t worry, you’ll have a new appreciation for it after this. Already have plenty of Christmas albums? Well, I can guarantee you that nothing on your shelf provides even close to the variety of this. So, as long as you're not that aforementioned scrooge, do yourself a favor and get this album. Not only that, get it for your friends and family. And when they open it and you are met with the looks of "jazz banjo?" "electric drums?" and "soprano sax like Kenny G?", push play, sit back and tell them to just listen.

Listen to my review from a very festive Saturday Night Special (WCGO - 1590 am Chicago)

Rating
Overall: 4.5/5
Originality: 5/5 (the fact that there aren't any original songs on it aside)
Production: 4/5
Listenability: 5/5

Available at the Flecktones online store, Amazon.com and iTunes.