The Great Unconformity

Song of the Day -- Feb. 6, 2014: "No te da ganas de reir, Senor Malverde?" by John Murry

2014-02-06T23:16:00.000-08:00

This 8-minute track slow burns its way into your soul, imprinting a story that's more about choice and loss than anything as specific as drug addiction. That the track manages to go on this long without getting monotonous is one of the most amazing things, but the slow-tempo song beautifully features pedal steel, some nice guitar solos, haunting background vocals and a story that makes you want to listen a little more closely each time around.

Song of the Day — Jan. 27, 2014: "Carlos and Ruby," by James McMurtry

2014-01-27T10:30:00.001-08:00

In an effort to get more content up on the blog and to get myself expressed, I'm starting a new feature titled Song of the Day. During the course of my day, I listen to a lot of music, and sometimes I'll hear something new, or something I haven't heard in some time that just hits me — usually some sort of emotional response, i.e. chokes me up or makes me want to fist pump.
I'll highlight these songs on The Great Unconformity and talk a little bit about why I think they're great songs or why they are important to me. Not all important songs are great songs and vice versa.
The first in the series is a song I heard this morning on the way to work, after dropping my daughter off at daycare. Late as usual, with the iPod on shuffle.
"Carlos and Ruby" is off McMurtry's "Just Us Kids" album, which all-in-all is not my favorite McMurtry album. That said, "Carlos and Ruby" is a great example of how to write a story song. He says it all without saying it all. The characters are strongly developed within the song's brief framework. He sets up a sense of place without saying where the place is (he mentions aspens and potato fields ... gotta be Idaho), and every line is crucial to the story.
And what's more, it's a good story which involves a first Gulf War veteran/touring drummer and an aging horse trainer. There's not a happy ending but that's what makes it so powerful. Decisions are made and Ruby and Carlos have to live with them. This song even employs foreshadowing, mentioning the "slippery slope" early in the song, the same geographic feature that will later be responsible for Ruby getting a pin in her hip.
If you're serious about writing a good story song, I can't recommend "Ruby and Carlos" enough.

http://www.youtube.com/watch?v=bdAWFQApAfI

Best Music of 2013 — So far, part II (May through August)

2013-08-12T16:10:00.000-07:00

Guy Clark — "My Favorite Picture of You"
I had a dream the other that, in which Guy Clark and I were sitting down for a meal together. And then, he set down a bowl of his homemade salsa, and a bowl of corn chips. I dove right in, there were little yellow flowers in the very pasty salsa. It was delicious. As I shoveled chip after salsa-loaded chip into my mouth, I gave Guy a big thumbs up to express appreciation for his handy-work. He just leaned back in his chair, put his hands behind his head and grinned a big old grin, either pleased that I liked the salsa so much, or just cool and sure of his salsa-making abilities. Guy is equally adept at writing songs. And this batch of tunes, simply and gracefully adorned, is salsa for your ears, so to speak. The title track, along with tunes like "Hell Bent on a Heartache," "Rain in Durango," and pretty much the whole bunch comprise the best all-around Clark album since 1995's "Dublin Blues." In spite of the simple arrangements, and typically great Clark co-penned lyrics, there are some adventurous moments on this album. Clark sings in Spanish on "El Coyote," a tune reminiscent of the Woody Guthrie classic, "Plane Wreck at Los Gatos (Deportee)." On "Death of Sis Draper," the final saga in the Sis Draper series of Clark songs (or is it?), the fiddle refrain plays the tune to "Shady Grove." It's a nice nod to the kind of music the song's characters would play if they came to life.
And while I wish my dream were real-life, and that I could have a simple lunch with Guy Clark, as long as he's still making albums like this, that's the next best thing. Must Buy.

Daft Punk — "Random Access Memories"
Pretty far removed from the country folk of Guy Clark, Daft Punk has also made their best album in years, if not their best complete album of all time. With the hit of the summer (something we don't normally get to say on The Great Unconformity), I think everyone knows the story about this one. Still, there are some things about this album that continue to surprise me (in addition to bits of steal guitar), and I find it continues to be a rewarding, and absolutely fun, listen. Must Buy.

The Handsome Family — "Wilderness"
I realize my late-summer list is heavy on Americana releases, and that's primarily because few indie rock albums have grabbed me lately. The Handsome Family's Wilderness may not be "indie," but it sure is unique. A loosely organized concept album that employs animals as catalysts. Some of the songs are directly about the animals, most are anything but direct. Interestingly, the songs that feature historical figures as characters tend to the be the strongest on the album. General Custer pops up among ants and flies in "Flies," while real-life window-smasher Mary Sweeney is a "Woodpecker." And then, legendary songwriter Stephen Foster mingles with crocodiles in the album's closer, "Wildebeest." If you're a fan of great storytelling, all things dour and Gothic, the Handsome Family's earlier works, or all three (like me), then "Wilderness" is a Must Buy. If not, it's still At Least Worth a Download.

Jason Isbell — "Southeastern"
"Southeastern" is an early frontrunner for album of the year in a strong year for singer/songwriter albums. This is as solid a package of writing, production and content as there has been in the last few years for songwriter albums. The album includes themes of new love, lost love, general darkness and mayhem ... etc. The melodies are catchy and the lyrics are heartbreaking and uplifting at once. And the music ties it all together. All you need to know is that for me, it's a Must Buy.

Slaid Cleaves — "Still Fighting the War"
Another fine album from Austin's favorite adopted son, Slaid Cleaves. "Still Fighting the War" finds Cleaves in familiar territory; still not afraid to speak his mind on economic and political realities of the good old U.S.A. in 2013. If Ryan Bingham sings about the poor like they're going to rise up one of these days, Cleaves' characters always seem more resigned to their respective fates. Overall, the album isn't really that political, there are also love songs ("Without Her," "Hometown USA," "Gone" and "I Bet She Does") and an homage to longtime, yet recently deceased Austin singer/yodeler Don Walser. Still, the title track, "Rust Belt Fields" and "Welding Burns" seem to make the strongest impressions, with stories about forgotten working men and soldiers. I'm torn about "Texas Love Song" because I normally abhor this kind of bombastic statehood patriotism ... however, Cleaves pulls it off. It's good to know Slaid's out there, still winning battles and still fighting the war. Must Buy.

Reintroducing .. the Song Lyric Dictionary

2013-07-25T20:38:00.000-07:00

Many years ago, there was another blog, called "The Global Image," and instead of focusing primarily on music, like this here "Great Unconformity" thing, it was something of a satire website. It now can only be found by creepy folks who know where all the bodies on the Internet are buried, people like my friend Mike. But fortunately for me (and maybe for you if you enjoy strange and possibly incoherent concepts) The Global Image archives have unearthed the Song Lyric Dictionary. At the time, as I recall, I would get one of those "word-a-day" type emails with a great word, and as I listened to music throughout the day I would try to find a lyric that epitomized that word. Sometimes it was pretty abstract to tell the truth, but I've always found it to be a clever endeavor. Something my sideways brain is kind of proud of ... so without further ado, except for some more rambling I used to introduce the feature back in 2004, I give you the original Song Lyric Dictionary. I may even see fit to produce more entries based on some more up-to-date lyrics:

The Song Lyric Dictionary

Please welcome yourselves to the very first edition of the Global Image Song Lyric Dictionary: A wonderful mix of vocabulary and melodic, poetic reasoning. We would like to suggest that you create your own definitions to add to the song lyric dictionary. The goal is to find somewhat random words from our, this English language, and find song lyrics that closely match the actual definition. Abstract is going to happen, we realize and embrace that. So please find your own words and definitions. For the interest of consistency, I have been taking the main entry and pronunciation information from the Merriam Webster Dictionary Web site, m-w.com. So please follow this format and use this wonderful resource to help make this project something that won't lay waste to our delicate psyche.
We really look forward to your submissions and hope you enjoy it as much as we do.

Send all submissions to agjones@theglobalimage.org

Thanks, the Global Imagineer, Charles Shaw, CA

Main Entry: 1.al·i·ment
Pronunciation: 'a-l&-m&nt
Function: noun
Etymology: Middle English, from Latin alimentum, from alere to nourish -- more at OLD
1. See him drink from a bottle, see him eat from a plate, cute, cute basky bottom. Don't you want to make him stay up late. - The Talking Heads.
2. If you're feeling puny, don't know want to do, treat yourself to
some meat ...eat some barbecue. - Robert Earl Keen.

Main Entry: 2.al·i·ment
Pronunciation: -"ment
Function: transitive verb
1. The rainman gave me two cures, then he said jump right in, one was Texas
Medicine, the other was just railroad gin. - Bob Dylan.
2. Maybe all I need is a shot in the arm. - Wilco.

Main Entry: col·lo·qui·al
Pronunciation: k&-'lO-kwE-&l
Function: adjective
1. Language is the liquid that we're all dissovled in, great for solving problems after it creates a problem. - Modest Mouse
2. Our Conversations are like mine fields, no one's found a safe way through one yet. - The Mountain Goats
- colloquial noun
- col·lo·qui·al·i·ty /-"lO-kwE-'a-l&-tE/ noun
- col·lo·qui·al·ly /-'lO-kwE-&-lE/ adverb

Main Entry: co·pa·cet·ic
Variant(s): or co·pe·set·ic also co·pa·set·ic /"kO-p&-'se-tik/
Function: adjective
Etymology: origin unknown
1. I took a heavenly ride through one silence, I knew the moment had
arrived ... the killing of the past, the coming back to life. - Pink
Floyd.
2. We can't sweat the losses, let 'em go, toss 'em aside where the tall grass grows ... and we're all bound to get our share ... Iolanthe. - James McMurtry.

Main Entry: dis·ap·pro·ba·tion
Pronunciation: (")di-"sa-pr&-'bA-sh&n
Function: noun
1. He liked to watch the evening pass, clinking the ice in his bourbon glass, while you played your scales. With eyes that burned right through, he would say he always knew you were bound to fail. - James McMurtry.
2. I didn't mean to be so stupid, so far from home. - Wilco.

Main Entry: dis·com·fi·ture
Pronunciation: dis-'k&m(p)-f&-"chur, -ch&r, esp Southern -"t(y)ur
Function: noun
1. Despite his expectations, he turned out mediocre, his master plan
so-so. - Built To Spill
2. And dogs are dead with broken hearts, collapsing by the coffee
carts. - Grandaddy
- dis·com·fit - v.

Main Entry: frac·tious
Pronunciation: 'frak-sh&s
Function: adjective
Etymology: fraction (discord) + -ous
1. Well it ain't the first close call I ever had I'm sure you already know. I had some help from you Lord and the devil himself, It's been strictly touch and go. Yeah but who in the hell am I talkin' to there ain't no one here but me. Then he cocked both his pistols and he spit in the dirt and he walked out in the street. - Steve Earle.
2. We quarrelled that morning, for he was 65 ... and I was 30 and I
was nervous, and heavy with a child whose birth I dreaded. - Edward
Lee Masters, arranged by Richard Buckner.
- frac·tious·ly adverb
- frac·tious·ness noun

Main Entry: fu·ga·cious
Pronunciation: fyü-'gA-sh&s
Function: adjective
Etymology: Latin fugac-, fugax, from fugere
1. Once I was dug up, I was sinking. I was longing to be saved. I
lapped up to the bay bar and I saw her, bobbing like a wave ... and I
slowed down. - Richard Buckner
2. Thinking of that day when things went right. - Varnaline.

Main Entry: hen·deca·syl·lab·ic
Pronunciation: (")hen-"de-k&-s&-'la-bik
Function: adjective
Etymology: Latin hendecasyllabus, from Greek hendeka eleven (from hen-, heis
one + deka ten) + syllabE syllable -- more at SAME, TEN
1. You feel like a poor boy a long way from home. - Tom Petty
- hendecasyllabic noun
- hen·deca·syl·la·ble /hen-'de-k&-"si-l&-b&l, (")hen-"de-k&-'/ noun

Main Entry: im·plic·it
Pronunciation: im-'pli-s&t
Function: adjective
Etymology: Latin implicitus, past participle of implicare
1. By the time we make it to Barstow, we'll be more than halfway to
hell. - Jay Farrar.
2. I've made charts and graphs that should finally make it clear.
I've prepared a lecture on why i have to leave. - The Postal Service

Main Entry: in·cog·i·tant
Pronunciation: in-'kä-j&-t&nt
Function: adjective
Etymology: Latin incogitant-, incogitans, from in- + cogitant-,
cogitans, present participle of cogitare to cogitate
1. Last time I heard she had twins or maybe it was three, though I've
never seen, that don't bother me. - Built to Spill.
2. ... and as things fell apart, nobody paid much attention. - The Talking
Heads.

Main Entry: in·stan·ti·ate
Pronunciation: in-'stan(t)-shE-"At
Function: transitive verb
Inflected Form(s): -at·ed; -at·ing
1. Yoshimi, they don't believe me, but you won't let those robots defeat me. - The Flaming Lips.
- in·stan·ti·a·tion /-"stan(t)-shE-'A-sh&n/ noun

Main Entry: 1.lum·pen
Pronunciation: 'lum-p&n, 'l&m-
Function: adjective
Etymology: German Lumpenproletariat degraded section of the proletariat,
from Lump contemptible person (from Lumpen rags) + Proletariat
1. It's hot in the poor places tonight, I'm not going outside. - Wilco.
2. In the quiet of the railway station, runnin' scared
Laying low, seeking out the poorer quarters, where the ragged people go, looking for the places only they would know. - Simon and Garfunkel

Main Entry: 2.lumpen
Function: noun
Inflected Form(s): plural lumpen also lumpens
1. It's three men from Chile who are tired and they wanna go home. They've run out of money and they're stuck up in East Oregon. - Robert Earl Keen.
2. I heard a voice today I swore I knew, from somewhere down in the southern sticks, I turned around to see a ragged stranger bumming change on the uptown six. And I froze like a stone, could I ever get that low. Turned my face to the window, there by the grace of God I go. - James McMurtry.

Main Entry: pe·cu·ni·ary
Pronunciation: pi-'kyü-nE-"er-E
Function: adjective
Etymology: Latin pecuniarius, from pecunia money
1. Turn the volume up real high, all of that money look at it fly ... and you smoking like a chimney. - The Mountain Goats
2. Money, get away, get a good job with good pay and you're O.K. - Pink Floyd
3. Give me my money back, give me my money back you bitch. I want my
money back and don't forget, and don't forget to give me back my blac
t-shirt. - Ben Folds Five.

Main Entry: post·pran·di·al
Pronunciation: pOs(t)-'pran-dE-&l
Function: adjective
1. Put out the word we need a new taster, there's one king left and so much food to eat. The interception by the last one was absolute professionalism. If he's laying there saying he's sorry, tell him it's okay we learn this way. - Grandaddy
2. And it's not rude, when she takes away your food ... to touch her
fingers and let them linger awhile with your loneliness. A cracker crunch. 'Cause you'll only touch her once only this one time at lunch and she might as well touch you too. Ahhh...it's the last time you're passin through. - Terry Allen.

Main Entry: pro·sa·ic
Pronunciation: prO-'zA-ik
Function: adjective
Etymology: Late Latin prosaicus, from Latin prosa prose
1. The hours wasted here, I could have wasted anywhere. - Varnaline.
2. I never watch TV except when I'm stoned, like humans do. - David Byrne.
3. After a while, you know their style, and that's enough to know they suck.
- Built to Spill.

Main Entry: so·lip·sism
Pronunciation: 'sO-l&p-"si-z&m, 'sä-
Function: noun
Etymology: Latin solus alone + ipse self
1. I myself have found a real rival in myself. - Wilco
2. Well, I just left myself today. Hell I couldn't wait to get away.
- Terry Allen.
- so·lip·sist /'sO-l&p-sist, 'sä-l&p-, s&-'lip-/ noun
- so·lip·sis·tic /"sO-l&p-'sis-tik, "sä-/ adjective
- so·lip·sis·ti·cal·ly /-ti-k(&-)lE/ adverb

Main Entry: spoo·ner·ism
Pronunciation: 'spü-n&-"ri-z&m
Function: noun
Etymology: William A. Spooner died 1930 English clergyman & educator
1. It's upside down and backwards, the foot's on the other shoe ... and I only want to talk to you. - James McMurtry.
2. Oh what a life a mess can be. - Uncle Tupelo.

Day of Reckoning — The Mumturds come to Taos

2013-06-06T11:11:00.000-07:00

Senseless "Babel," indeed.

What do you do when the small town you live in manages to land one of the most popular bands in the world (at the moment). Do you A: Enthusiastically jump on the bandwagon? B: Become the town Grinch?
Why would anyone choose B, you ask? Did I mention the name of the band? I didn't? It's Mumford and Sons. I refuse to acknowledge their ampersand ... even typing the name makes me gag a little bit, I loathe this band so.
Being outspoken as I am on all matters musical, it was hard for me to bite my tongue around the office. In fact, it was so hard I didn't even try. I'm sure I alienated some. Others seemed entertained. My despising Mumford and Sons sort of reminds me of an argument my brother and sister had some years ago (keep in mind, while in their 30s) about vanilla bean ice cream. One of them loved it, the other hated it. I couldn't fathom this because to me it was such a middle-of-the-road flavor that it didn't even bare discussion.
But perhaps now I understand. I don't recall who was in favor of vanilla bean, or who wasn't, but for the sake of discussion let's say my sister hated it and my brother loved it.
It could be that my sister loves ice cream so much that something as inarticulate as vanilla bean seemed to be an affront to the entire spectrum of delicious ice cream flavors in the world. It's mere mediocrity was itself a worse crime than being really really bad ice cream. At least the really bad ice cream tried to do something interesting. Or maybe my sister realized that the really bad ice cream (relative to her own tastes) was only really bad because it was a flavor she just didn't like, or understand. But anyone can wrap their head around vanilla bean, right? It's just soooo boring.
Not to draw out the metaphor (which I'm sure you saw coming a few paragraphs ago), but Mumford and Sons are to me, the vanilla bean ice cream of the folk/indie/pop/bluegrass-ish musical world.
Everything they do reeks of such high-grade mediocrity, and the fact that they've been blessed with numerous awards and acclaim in return for this boring brand of tunage irks me even more.
So for the past few months I've been the town Grinch, belly-aching about the adoration and ceaseless preparation my town of residence has bestowed upon a band that's just gonna sweep through, play their boring songs and head out again.
Never mind that the headliners are increasing the population of our small community by 150 percent this weekend, and hopefully increasing gross receipts tax dollars (it's what we call sales tax in New Mexico) by at least a similar amount. I'm happy about that latter part, I just wish it didn't have to come with a big old scoop of vanilla bean on top.
Maybe next year we can go back to the jam bands (Widespread Panic 2 years ago) and reggae acts that usually fulfill our musical destiny (at least that's an identity), but today, and this weekend are all about the Mumturds. I'll be holed up in my living room with the shades down, and some Frightened Rabbit or Old Crow Medicine Show (the "rocky road" and "praline" of the musical world Mumford inhabits) on my stereo.
And next week I can go back to being my usual peppy, positive self. OK, I'll still be a Grinch, but I'll be a Grinch that lacks focus, and that's as good as it gets.
And if any of the bands I do love read this, and decide they want to try and play in Taos, shoot me a message, I'll help you make it happen. I can't promise 8,000 fans but I can promise a good time.

Visit taosnews.com for more Mumford coverage.

Random Songservations No. 6: Daft(Country)Punk

2013-05-21T17:21:00.000-07:00

Daft Punk aren't necessarily "Ready for the Country" but they are venturing further afield.

I'm sure I'll have plenty to say at some point about the new Daft Punk album, "Random Access Memories" (I for one love more introspective and nuanced aspects of this album), but for now I just wanted to make note of something the Frenchmen have done that completely blew my mind.
On the track "Beyond" and then again on "Fragments of Time," Daft Punk employs what sounds like a pedal steel guitar (a theremin or a synthesizer can mimick this sound fairly well, hence "sounds like"). And it's not some subtle, oddly arranged steel guitar sound either, these are country licks. In "Beyond," you've got this pedal steel sound in the same song as Auto-Tune (I want to go on record as saying that Daft Punk should be the only people in the world allowed to use Auto-Tune). Throw in some tracks by Muppets songwriter Paul Williams and you've got an album with some interesting quirks.

Best Music of 2013 — So Far

2013-05-16T10:58:00.002-07:00

Now that I've finally finished the 2012 discussion, I wanted to bring up some 2013 albums that I love, and a few I don't quite yet. These are all worth a listen in my book though.

Terry Allen — "Bottom of the World" (Redeye Label)
The undisputed king of "art country" (probably because I just made that genre up) released his first album in about 13 years. And while I would've loved to have another album or two between 1999 and now, "Bottom of the World" is on equal footing with anything he's ever released, including his two seminal 1970s albums, "Juarez," and "Lubbock (On Everything)." Allen's trademark tongue-in-cheek wit finds its way into every song, no matter how dark the subject matter, and believe me, with songs like "Emergency Human Blood Courier," there is some dark subject matter. And while he targets some of the usual subjects (organized religion) with his piano-based sarcasm, there's a softness to this album that's rarely been seen in Allen's work. Must buy.

Frightened Rabbit — "Pedestrian Verse" (Canvasback/Atlantic)
The Glasgow band delivers another strong collection of songs, probably their best since the magnificent "Midnight Organ Fight" (2008). Lumineers, Of Monsters and Men and Mumford and Sons should take note: this is how you write, play and record anthemic pop rock songs that combine acoustic and electric instruments. Of course, those bands will never be able to achieve what Frightened Rabbit does because they don't have a songwriter like Scott Hutchinson, who wears it all on his sleeve. I hate to even mention those other bands in the same breath as Frightned Rabbit but the inevitable comparisons are there, I suppose. For a band with real energy, real feelings and a real attention to craft, look no further than these guys, "Pedestrian Verse" is a Must Buy.

Atoms for Peace — "AMOK" (XL Recordings)
Anytime you get Thom York decides to make music, something good is going to happen and some really great things happened during this most recent out of the Radiohead framework. Working with longtime Radiohead producer Nigel Goodrich on keyboards and synths, freaking Flea on bass, Joey Waronker (Beck, R.E.M.) on drums and Brazilian Mauro Refosco on percussion, Atoms for Peace is a more fully realized version of York's solo debut, "The Eraser." I haven't listened to this too much, but he songs are fluid, high energy and beautiful. "Judge, Jury and Executioner" is an early favorite. Must Buy.

The Flaming Lips — "The Terror" (Warner Brothers)
A big old left turn into beautiful, surreal darkness, "The Terror" is as different from previous efforts in the last 10 years as "The Soft Bulletin" was from its predecessors. This is a languid, gorgeous album that proves these guys, as silly as they can be sometimes, can still be absolute wizards in the studio. The album envisions a world without love, but as dark as it can be at times, there are still uplifting moments (achieved mainly through outstanding sonic achievements). And while the world of the album may be without love, I think I love this album. See, love wins again Flaming Lips. Must Buy.

Caitlin Rose — "The Stand-In" (ATO Records)
As calm, cool and collective as 2011's "Own Side Now," Rose raises the bar on her songwriting prowess. Combing elements of country and 70s folk rock seamlessly, "The Stand-In" sounds more like it was made in L.A. in 1973 than Nashville in 2013, though the latter scene is getting cooler all the time. Consistent songwriting, great hooks and Rose's wonderful voice make this one a Must Buy.

Foxygen — "We Are the 21st Century Ambassadors of Peace and Magic" (Jagjaguwar)
Despite the long-winded title, this album is full of tightly constructed psych-rock anthems. While no song is longer than 5:50, there are a lot of moving parts as the songs move from section to section. Perhaps the most striking example of this is "On Blue Mountain," the longest song, but also one of the most adept at shape-shifting. This fun album, made by two high school friends, reminds me most of "Oracular Spectacular," MGMT's amazing debut. This album also invokes early Rolling Stones and Brian Jonestown Massacre (the latter cited as a reason the friends started Foxygen in the first place). Must Buy.

Josh Ritter — "The Beast In Its Tracks" (Pytheas Recordings)
Another solid outing from songwriter Josh Ritter, "The Beast In Its Tracks" has been heralded as a breakup album, but it seems to be more of a "moving on" album, with numerous mentions to a "New Lover" and how the passage of time has made things better. That said, there's still pain and reflection on this album ... Ritter may have someone new but he hasn't forgotten what went down in his last relationship, and this is his way of getting all that off his chest. The upbeat nature of many of the songs puts a sunnier face on things, but the lyrics reveal a sense of loss, even though it may be better for everyone in the long run. Like the best breakup albums ("Blood on the Tracks," the aforementioned "Midnight Organ Fright") it's all over the place, with no straight narrative, bouncing between anger, relief, loss, hope and occasional clarity. At Least Worth a Download.

Low — "The Invisible Way" (Sub Pop)
The Duluth, Minnesota-based trio Low has been making truly unique American music for nearly two decades now. This time out, they headed south to Wilco's loft in Chicago to work with Jeff Tweedy as producer. Tweedy's light-handed approach results in a very Low-sounding album, as beautiful as anything they've done before. The husband-wife duo of Alan Sparhawk and Mimi Parker trade vocals throughout the album, with Parker taking lead on a few more songs than usual. Which is great, because she has a great voice. Must Buy.

The Besnard Lakes — "Until in Excess, Imperceptible UFO" (Jagjaguwar)
I've loved these guys since their second album, "The Besnard Lakes are The Dark Horse." And they've continued that same strong formula: crunchy metal meets surf guitars, and soaring husband/wife harmonies -- Montreal's Jace Lasek and Olga Goreas. Similar to the Low album, Goreas seems to be out front a little more on this album than previous efforts. This album hasn't grabbed me completely the way the last two Besnard Lakes song cycles did ... maybe it need some time to grow. Still, it's definitely At Least Worth a Download, if not more.

Unknown Mortal Orchestra — "II" (Jagjaguwar)
This album, and this band, are living proof that you don't have to be abrasive or overly avante garde to create music that is very original. Blending myriad influences and running them through a beautiful fog of lo-fi production. Not to say anything is murky, this album is very crisp, the guitars and clean and the lyrics more than audible. It's the crunchy, sparseness that makes for such a unique sound. "Swim and Sleep" is so infectious you won't remember anything else at first, but the rest of the album is solid, and a joy to listen to. Must Buy.

Telekinesis — "Dormarion" (Merge Records)
This album is truly growing on me. I was underwhelmed at first, but the third album from Seattle's Michael Benjamin Lerner seems as strong as previous efforts. While there doesn't seem to be the "single of the summer" on this album, the way "Car Crash" was off "12 Desperate Straight Lines," it's a solid collection of songs, with several of the tracks, most notably "Wires," "Power Lines" and "Emphatic People" starting to etch themselves into my subconscious (the place where great songs live). It might upgrade with more listens, but as of now it's At Least Worth a Download.

!!! — "Thr!!!er" (Warp Records)
"Th!!!er is a super-fun album, reminiscent of the band's earlier efforts, as well as contemporaries such as LCD Soundsystem and the Juan MacLean. Often tabbed as "dance-punk," the band plays an indie-rock infused brand of dance music. I'm just now learning the secrets of this album, but I'd say if you are looking for something to get you moving, this is a great option. At Least Worth a Download.

Random Songservations, No. 5: "Shakedown Street"

2013-05-09T11:50:00.000-07:00

I'm no Grateful Dead historian or anything, but I love the band's take on disco on the song "Shakedown Street." But listening to the whole album, I'm bummed that they weren't able to focus their energy and create an awesome funk-disco album.
Yes, "Fire on the Mountain" is also a classic tune, and it seems more reggae in style. And "I Need A Miracle," "Stagger Lee" and "All New Minglewood Blues" are slightly above average Dead songs.
But from the cringe-worthy cover of "Good Lovin'" and the calypso-tinged "France," and "From the Heart of Me" (all songs I consider throwaways), I can't help but feel the band totally missed an opportunity to build a classic album around the cover track. The elements were there. I would've loved a more cohesive effort, along the lines of the folk-inspired classics "American Beauty" and "Workingman's Dead."
Instead of focusing on one style, aka disco, it seems the Dead was trying to copy all the popular styles of the day. I want to hear from some Dead Heads ... is this album generally seen as a disappointment, or do people like it? There are some really good songs, but there are a few really bad songs. What was going on with the band at the time?

On the passing of George Jones

2013-04-26T22:45:00.001-07:00

Ole Possum got to live to 81 years. That's a pretty good run, especially for a guy who lived as hard as he did in the early days. He wasn't always a role model, and his darker side is well documented, but he was always, and I mean always, the possessor of one of the greatest voices in country music history.
As it's been said, he could sing the phone book and I'd listen.
Growing up in rural Texas, Jones was always on the radio at my house. Later, in college, we admired his ability to grow such fine hair right over his ears, at once appearing to embrace the hippie counterculture (OK, maybe not so much, check it out above, that's hair) and the southern good-old-boy sect (in addition to the same last name, I share this unique hair trait).
It's sad when the good ones finally kick on down the road, but it's also a comfort when they are able to live to a ripe old age. So long George, thanks for the voice.

Top 20 Albums of 2012: No. 1 — "Mr. M," by Lambchop

2013-04-22T12:07:00.001-07:00

Wow, I think it's time to put this list to bed once and for all, and the only way to do that is to actually announce my No. 1 album of 2012 ... today, on April 19, 2013. Embarrassing for sure, but life isn't always just a bunch of blogging around.
The thing about this album is that it's just so, so solid ... the way most Lambchop albums are. But even for a band this consistently good, this album is pure gold. That's right, "Mr. M" is pure country-politan on Quaaludes goodness; every arrangement is so lush, though understated and every lyric is so sad, yet hilarious. The complex brilliance of Kurt Wagner and company is probably not for everyone -- I realize this. There are no dance-pop anthems (even though the vinyl release has some nice remixes) and no anthems to speak of at all really.
These songs just get under your skin, like a good book, or a really beautiful painting. This album is about as good, if not the best, Lambchop has ever been. Wagner's lyrics are more poignantly comical than ever and the production is just about akin to sonic brilliance.
Music for the masses it is not (maybe music for molasses?).
Jokes aside, it takes a lot of work to make music this good and to take what otherwise might be quirky folk songs and turn them into these wonderful little pocket symphonies. And Lambchop is one hard working band.

Top 20 Albums of 2012: No. 2 -- "Dept. of Disappearance," by Jason Lytle

2013-04-08T15:13:00.002-07:00

Jason Lytle, photo by John Garner

Ever since the early part of the new millennium, I have been in love with Jason Lytle's brand of keyboard-driven, strange-story-telling Central Valley rock music.
"Sophtware Slump" and "Sumday" still excite me and inspire me like few albums ever have. And sadly, for some reason, I only saw Grandaddy live once, and the circumstances were less-than I would care to admit. They were opening for ... gasp ... Coldplay, at the old Backyard venue in greater Austin. At that point, I was only vaguely aware of Grandaddy (Western Freeway era), and didn't pay as much attention to the openers as I should have.
I was still evolving myself, and in a mere three or four years, I would already be embarrassed that I ever indulged myself in the songs of Scott Martin and I would be utterly ashamed I missed out on a true Grandaddy experience that night.
I have seen Lytle solo once, but I was having some serious allergies and wound up suffering through a week of migraines. I had to sit in the darkest corner I could find in San Francisco's Cafe DuNord. Still, it was a great show and I have no regrets.
I enjoyed Lytle's first solo effort, "Yours Truly, The Commuter" but I felt it lacked some of the raw energy and subtle brilliance of several of the Grandaddy albums (I also felt that way about the band's swan song, "Just Like the Family Cat."
All of this leads to why I am so excited about "Dept. of Disappearance." The album is not so much a return to form as it is Lytle's resurgence as an artist who can write great hooks, albeit with some occasionally tragic stories.
Most of the lyrical content on "Dept. of Disappearance," it seems to me, is about surviving, or not surviving under harsh circumstances. While Lytle has previously immersed his songwriting in themes of how technology and the natural world are totally at odds, this album seems to suggest that nature, while still an antidote to over use of technology, can just as swiftly kill your ass.
I grateful Lytle has continued to make music post-Grandaddy. Not only does this album deal with some heavy stuff, it also has tons of hooks and an earnest quality you won't find in much modern music.

Top 20 Albums of 2012: No. 3 — "Transcendental Youth," by The Mountain Goats

2013-04-01T14:26:00.001-07:00

Photo by DL Anderson

If you know me, you're not shocked that The Mountain Goats 2012 album landed in my top 5. You might be shocked it's not No. 1, but you probably won't be that surprised by my top two choices either. If you don't know me, you shouldn't be surprised this is in my top 5, because it's a damn fine album.
In fact, I think this may be the best Mountain Goats album since "The Sunset Tree." Finding rays of light in dark times has become John Darnielle's calling card, and never has this ability been so well utilized as on "Transcendental Youth."
I love the horns and jazz elements of this album, and of course Darnielle's lyrics. Every time I listen to this album, I feel happy. I know that doesn't make for really interesting music writing, but that's as succinctly as I can put it: The Mountain Goats make me happy. And for that, I love them.

Top 20 Albums of 2012: No. 4 — "Agnostic Hymns and Stoner Ballads"

2013-03-25T13:32:00.001-07:00

Another Todd Snider album, another instant classic.
The king of modern, topical songwriting (that won't become dated) strikes again with a collection of even grittier characters with harder luck.
There's more anger on this one than on previous releases, yet it's often expunged as dark humor. I think with a recession that keeps lingering the way this one has, it only makes sense that his down-and-out characters would start to have a darker edge.
The loose-as-a-goose production cuts through some of the shadows, with Snider's studio collective (this time around including Amanda Shires) making "sloppy" an art form.
While Springsteen may have his radio-friendly songs about "hard times," Snider talks about real life. He may try to convince everyone that he just gets out of bed around noon and "makes this shit up," but Todd Snider is the king of the craft.

A Ghost on the Moon — Jason Molina — 1974-2013

2013-03-18T15:32:00.001-07:00

Photo by Steve Gullick/Courtesy Secretly Canadian

With his ethereal voice and a penchant for singing about ghosts, the moon, the darkness and other such topics, one might be forgiven for thinking that Jason Molina had been singing from the grave all along. At least from somewhere other than this earth.
But I know, as I saw him with my own two eyes once at the Great American Music Hall (sadly, only once), that Jason Molina was a real man who played music on this earth for the better part of his all-too-brief 39 years.
Like other wounded poets before him (Townes Van Zandt, Vic Chestnutt, Mark Linkous, Kurt Cobain and David Foster Wallace to name a handful), his pain evolved into something beautiful and real that added meaning to my own life.
I read earlier that Magnolia Electric Co.'s fantastic album "What Comes After the Blues" only sold 13,000 copies ... and that was Molina's best-ever selling record. That in and of itself is a tragedy because this music needs to be heard. I recently played "The Dark Don't Hide It" for a coworker, noting the Neil Young influence, and he said, "this is how I always wished Neil Young sounded."
Jason Molina was just that good.

Top 20 Albums of 2012: No. 5 — "Algiers," by Calexico

2013-03-13T14:01:00.000-07:00

Gerald van Foris/Quarterstick Records

Much was made of the fact that Tucson-based Calexico strayed from home to record the band's 2012 album "Algiers." Many people were expecting something more heavily influenced by New Orleans than what the album came out to be ... which is to be expected. But probably what's not to be expected is a huge shift in direction from Calexico, a band that already blends more worldly influences into a unique American rock 'n' roll sound than anyone.
If you listen though, The Crescent City is present in this album. Since I never got my "First Listen" review up on the site, I'll share some of the notes I had for this album now:

"Epic" starts out with that driving nylon-string guitar that is part of the Calexico bag of tricks.
And the nylon guitar serves as the base layer for more percussion, horns and an electric guitar which doubles the same riff with more intensity.

"Splitter" seems to be the lead-off single type of song — gorgeous and upbeat, a tune about immigration I've read. The horn line is pretty epic, not to be confused with opening track, "Epic."

The southern influence first turns up on "Sinner in the Sea" ... which seems to be a tale about the Gulf oil spill played out over Calexico's interpretation of gritty southern rock and blues.

The background vocals on "Fortune Teller" sound like something off a Shins' album, and when Burns sings "I'm Walking with a Fortune Teller," it sounds like he's channeling Stevie Nicks a little bit. Just the phrase and the grit.

"Para" was actually the first song released, and it's a slow burner.

"Algiers" serves as the requisite instrumental track on a Calexico album, and unlike most bands, Calexico never disappoints with their instrumental tracks.

"Maybe on Monday" is just one of those great Calexico songs, full of unresolved conflict and great rhythms.

"Puerto" brings out the more Latin side of the band, with driving maraca percussion and Spanish guitar, not to mention a blend of English and Spanish lyrics.

"Better and Better" is a title that describes the evolution of this band from album to album. And they started pretty darn good.

"No Te Vayas" sounds way more Cuban than Cajun, but I do think that is a part of the mystique of New Orleans as well.

"Hush" finds the band in a more subdued, organic mode, with soft vocals and gentle guitar lines. It's a beautiful track.

And "The Vanishing Mind" is one of those quiet verse, epic chorus without being a chorus kind of songs, with no actual refrain, the crescendo of horns and strings is the chorus, the bridge and the meat of the song. It's a Southwestern show tune almost, but not so peppy or sprite ... not peppy or sprite at all actually.

"Dead Moon" continues the second half of the album's descent into darkness, Calexico style. If the soaring music does anything to brighten the deathly tone of this song, it's purely an accident. The arrangement, while epic, is not fighting against the sinister tale being told.

"Mi Maquina" picks things up with a little bit of a German techno (no shit) beat, synthesizers and speaking, Spanish lyrics. There's also a little bit of funk in there. It's a sweet tune, with "Dub Latina" off "Feast of Wire" being the most similar track in the Calexico catalog.

All the tracks after "The Vanishing Mind" are only available on the extended version of the album but
all of these tracks, including the final "Ghost of a River" belong on an album. The last track combines elements of southern blues (harmonica) and country (lap steel) with the more familiar desert rock of Calexico.

Top 20 Albums of 2012: No. 6 -- "Tomorrowland," by Ryan Bingham

2013-03-10T21:03:00.001-07:00

By Anna Axster (Personal Image from Concert) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

My fellow Texan/New Mexican/Californian Ryan Bingham has turned in another quality batch of songs. From straight ahead rockers to the more folky and earthy compositions on this album, Bingham delivers the goods. He's socially conscious and he's angry and he's good lookin' to boot.
He writes a helluva song too. Of the songwriters working in the mold of "Texas artist" in this day and age (and I think that's a confining role for Bingham), this guy is at once the most universal in his appeal and the most refreshing in his approach and delivery.
I love the territory Bingham mines as a songwriter. "Too Deep Too Fill" is probably the best true old-school folk song written in the last five years. Pretty heady stuff, and in the wrong hands it can sound preachy and self-righteous. Bingham, however, has just enough grit in his voice and dirt on his hands to sell the whole darn thing.

Random Songservations: No. 4

2013-02-19T10:44:00.002-08:00

"Grace Potter and the Nocturnals"

I'm listening to this much ballyhooed band right now and I'm wondering what the fuss is about. It's 2013, why is a band that sounds like Heart, circa 1987, considered relevant? Am I too harsh?

Top 20 Albums of 2012: No. 7 -- "Love at the Bottom of the Sea," by The Magnetic Fields

2013-02-19T10:42:00.001-08:00

Photo by Clay Walker/ www.houseoftomorrow.com

"Love at the Bottom of the Sea" is, in my opinion, the best album by The Magnetic Fields since the third volume of "69 Love Songs." Perhaps not coincidentally it's the first album since that one to include synthesizers, and after a three-album hiatus from the strange group of instruments Stephin Merritt and company modulate, filter, oscillate, bleep and burple all over the place.
The album is also chock-full of vivid and hilarious imagery, sad commentary and brilliant one-liners.
The Magnetic Fields at their best.

Random Songservations: No. 3

2013-02-14T14:05:00.002-08:00

Forget Yo Gabba Gabba, my baby would rather hang out in an empty parking garage with these guys.

"Babies love New Wave"

Scene: Sick-day lunch excursion with two-year-old in baby seat in the car. Not a peep in five or more minutes, until about midway through "Run," by New Order (which popped up on iPod shuffle), she smiles and says, "I like this music," in a way that indicated she didn't like anything she'd heard up until that moment.

Top 20 Albums of 2012: No. 8 -- "Time As We Know It: The Songs of Jerry Jeff Walker," by Todd Snider

2013-02-12T22:11:00.000-08:00

Photo by Amy Halverson, Todd Snider and Jerry Jeff Walker at the 2012 Hardly Strictly Bluegrass Festival in San Francisco.

One of two albums released by Todd Snider in 2012, "Time As We Know It" is a tribute to Texas singer/songwriter Jerry Jeff Walker.
To those of you not from the Lone Star State, JJW is, to many Texans, The Grateful Dead, Jimmy Buffet and George Strait rolled into one man, and his longtime band the Lost Gonzos.
Not that he really sounds like any of those artists (though he did once take an infamous cross-country trip with Buffet before they were both stars), it's the fan-following that I'm talking about here.
Walker is also, like Snider, one helluva songwriter. And since Snider feels like he might never have gotten into the business without the inspiration of JJW, he made a tribute. A very good one at that. More impressive than Snider's ability to carry off these songs (which he does quite well) is his ability to choose timeless songs from Walker's catalog.
Admittedly, as a long time fan of Walker and Snider, this album isn't for everyone. But if you are a fan of either artist, I think you'll enjoy "Time As We Know It."

Top 20 Albums of 2012: No. 9 -- "Attack on Memory," by Cloud Nothings

2013-02-12T21:35:00.001-08:00

Seldom does an album grow on me the way "Attack On Memory" did in 2012. When I first listened to this album, I was conflicted (see my First Listen entry). At first I thought it was cacophonous dribble, but then I knew it was cacophonous dribble, in the best way.
The growling, the riffing, the drumming, oh the drumming ... Cloud Nothings may have evolved on this album to something very special. The mixture of melody and chaos, punk, grunge, pop punk and surf rock makes "Attack on Memory" one of the most apt album titles in some time. After listening to it, you're not sure what just happened. You're gonna check if your wallet is still there, that's for sure.
In spite of its brevity, this was one of the most unique true rock albums this year. I don't think many bands can take so many influences, with the goal of making a harder rock album (if that was the goal), and create something so wonderfully singular.

Random Songservations: No. 2

2013-02-01T20:13:00.000-08:00

In the midst of the most drawn out "best of the year" list ever, I made the mistake of listening to World Cafe with Father John Misty, and I'm enamored by these songs. I'm tempted to get the album and start my best of list all over.
However, No take backs.
That said, best of lists are not carved in stone, they are a set of opinions formed in a fleeting moment (or in my case, an excruciating few months). They can be revised and recalculated ... and they will be. If I had made a favorite albums of 1999 list, it would look very now than it did at the time. For instance, I didn't listen to "The Soft Bulletin" until around 2003.
Anyway, I'm going to check out this Father John Misty character (and maybe even some old J. Tillman releases) and see if my world view shifts at all.

Top 20 Albums of 2012: Tie for No. 10 — "Nocturne," by Wild Nothing

2013-01-31T12:23:00.001-08:00

Wild Nothing's 2012 album "Nocturne" has been a consistent presence in my life since I first heard it in the fall. It's an ear worm of an album that doesn't look like much until you find it's stuck in your head and there's no way to get it out.
Combining elements of shoegaze, indie rock and pop, Jack Tatum (the architect of Wild Nothing) makes dreamy little anthems, infectious as they are like little moving pictures.
For me, it's a difficult style of music to describe. But here are some attempts:
It harkens back to the decades of my youth while keeping itself firmly entrenched in the now.
It's dance music for people who don't really like to dance.
"Nocturne" is an autumn afternoon, drenched in sunlight after a solid 30-minute rain.

Top 20 Albums of 2012: Tie for No. 10 — "Life Is People," By Bill Fay

2013-01-29T11:30:00.002-08:00

Bill Fay, right, with Jeff Tweedy and Wilco in 2007 : Photo by Pneyu

By this point in my drawn out Top 20 list, some of you are probably wondering when I'm gonna get to the end?
Before February? Probably not. By March? Maybe.
Let me tell you something: when you're an adult with a full-time job and a 2-year-old, things have to be prioritized. And many of those things are higher in the pecking order than blogging about music. And most of them are a giant time suck. Would I rather be blogging about music than doing many of those things? Of course I would, but time and money and life in general have a way of pushing back things that, while important, may not be the most pressing.
Perhaps no one knows all of this better than Bill Fay. After making two albums in the early 1970s, it wasn't until this year that Fay released any new material. Living his life must have gotten in the way of any aspirations he had toward greatness as a songwriter, although he is very talented. His early material, now heralded by many (including Wilco front man Jeff Tweedy), didn't sell well and his apocalyptic folk songs with a Christian bent didn't catch on until 30 years after he made them. It's a Nick Drake-type story, if only Nick Drake had been alive to see his own music find a larger audience.
Lucky for us (and him), Fay is still alive, and in 2012 he made an album that might just surpass the two 70s records ("Bill Fay" and "Time of the Last Persecution") that brought him a cult following in the first place. At the very least, "Life Is People" is a remarkable addition to Fay's sparse catalog.

Top 20 Albums of 2012: No. 12 — "Light Up Gold," by Parquet Courts

2013-01-23T11:07:00.001-08:00

Parquet Courts, photo by Heather Strange

"Light Up Gold," the debut full-length by New York City via Texas indie-punk rockers Parquet Courts, was one of the more refreshing releases in 2012.
The songs punch you in the kidney and by the time you know what's happened and get back to your feet, you are humming an incredibly catchy melody and singing some clever, biting lyrics.
Another group of former University of North Texas students who have found fame in the rock world outside the Lone Star State, Parquet Courts are really all about New York, with the influences provided by the great city oozing out of every sound on this album. To name I few, I hear Jonathan Richman and the Modern Lovers, Tyvek and Television. One might say they hear The Strokes, but Parquet Courts already surpasses that band in every way imaginable. And even though "Light Up Gold" nods to the city's past, the band makes the sound uniquely their own. I like to think it's the Texan factor that allows them to completely own this style of music.
I dare anyone to listen to "Borrowed Time," "N Dakota" or "Stoned and Starving" without having the melodies permanently lodged in your brain.
To quote the song, "Light Up Gold was the color of something I was looking for," it just also happened to be the sound of something I was looking for; and I'm glad I found it.