At the end of 2008, I discovered a band from New Jersey called the Gaslight Anthem. This was just as the buzz around it was starting to build. Gaslight Anthem’s sound is a punk/soul hybrid, but the sum is infinitely greater than the influences. I have very likely listened to this band more than any other since then. I have anticipated no 2010 release as highly as “American Slang.” The reason is simple. The first time I listened to the Gaslight Anthem reminded me of what it was like to fall in love with rock & roll. And to be able to capture this emotion is no small feat.
“American Slang” does not disappoint in the slightest. It tackles the big stuff—the American Dream (or lack of its reality as in “You told me fortunes in American Slang”) is really the overarching theme. Rare is the record that can tackle heavy themes, but still keep the redemptive power of music present at every moment. “American Slang,” like the Gaslight Anthem’s previous albums, has done this. However, the beauty of the Gaslight Anthem has always been found in the details—the interplay of the guitars, the wonderful lyrics, and the joy that permeates every note—as much as in the total. But the total is beautiful.
Nigerian Singer and hip hop artist Nneka just released her first US album, “Concrete Jungle.” Musically this is really a sound kaleidoscope—sounds, words, and music beautifully morphing and blending. Whether it is more DJ based tracks such as “Showin’ Love,” the acoustic based “Come With Me,” or the full band glory of “Focus” Nneka’s sound is completely infectious.
Lyrically she takes on subjects such as war and those who speak of peace but still wage war. “U talk about peace / Put it in ur mouth / The same mouth u use to declare ur bombs.” She’s also not afraid of the spiritual on tunes such as “God of Mercy.” With her words and her music, Nneka proves that a powerful message is enhanced when heads are bobbing and the listener can’t help but groove.
There will certainly be comparisons to Lauren Hill. But I dislike comparisons because they too often compartmentalize an artist and dissuade listeners from hearing what is truly unique and powerful about the newer of the two artists. And to confine Nneka in such a way would be to overlook all that is so amazing about her music and “Concrete Jungle.”
When Mike Doughty released “Golden Delicious” last year, it quickly became one of my favorite albums of the year. For a fan whose been listening since Mike’s Soul Coughing days, I found it an excellent progression of his musical career. With October 2009’s release of “Sad Man Happy Man,” he has taken his work to a new level by putting forth the strongest album of his career.
The new recording perfectly melds the acoustic approach he has been following in recent years with his much beloved early Soul Coughing work. One way he’s accomplished this is by taking his acoustic guitar and bass of long-time collaborator Scrap Livingston and combining them with drum programming and sonic samples (what Mike himself calls “weird noise stuff”). This definitely harkens back to some sounds prevalent on Soul Coughing discs. Also, utilizing drum machines has allowed Mike Doughty’s unique and highly rhythmic guitar playing to take a powerful place in the mix.
Topically, “Sad Man” takes on a broad range of themes, from relationships, “Keep on Rising Up” to the economic meltdown, “Pleasure On Credit.” And “Lord Lord Help Me Just to Rock Rock On” seems to take on his years of addiction. However, this tune is much deeper than that. It also seems to have a spiritual meaning or component that I’ve found in the rest of his work.
In the end, the one element of major importance in the greatness of “Sad Man Happy Man,” is that Mike Doughty is making powerful music on his own terms. Music that is lovely, funky, and meaningful. And with every listen this depth is becoming more and more apparent.
Oh, and so the FCC says I have to tell you when I’ve received free products. So Mike Doughty’s publicist sent me this record. So there you go. My about section has a bit more info on my review “policy.”
The Bad Plus was formed in Minneapolis in 2000 by pianist Ethan Iverson, bassist Reid Anderson, and drummer Dave King. Generally, and largely accurately, they are classified as a jazz trio. However, it’s in some sense limiting to try and fit them into any one genre. From the beginning, all of their recordings have featured dramatic reworkings of contemporary tunes such as Nirvana’s “Smells Like Teen Spirit” and Queen’s “We Are the Champions.” And when I say reworking, I mean talking a tune all the way apart and putting it back together in a dramatic and compelling way.
During the bands initial nine years and six albums, The Bad Plus has remained an instrumental group. This year’s release, For All I Care, is a departure from the instrumental tradition. For this recording the band added Wendy Lewis. Or in the bands lingo, “The Bad Plus Joined by Wendy Lewis.” Wendy Lewis is a well-known fixture on the Minneapolis music scene and, by design, not a jazz vocalist.
The result is stunning. The addition of vocals to this band, has taken its music to another level. The combination of the way The Bad Plus interprets tunes added, now, with the singer’s beautiful vocals creates a sound that reminds me some contemporary classical composers. Notably, the record does include a few instrumental classical pieces in the mix. In fact, there is one by Stravinsky. And there are, of course the kind of tunes that fans have come to expect from the band, such as Nirvana’s “Lithium,” “Comfortably Numb” by Pink Floyd, and “Radio Cure” by Wilco.
Check The Bad Plus joined by Wendy Lewis playing “Lithium” below.
Published on November 5, 2008 in Album Reviews. Closed
Due to being in Detroit, being struck down by the flu, and the election, my focus on music has been somewhat diminished—and this is certainly uncommon for me. However, during my illness, I received Samantha Crain’s amazing EP, The Confiscation. This singer and guitarist is just 21 years old, but writes like a much more seasoned songwriter. Her music is, broadly speaking, in the singer songwriter genre. However, one of the things that really makes Samantha Crain’s music so luminous is the combination of her influences. She is as versed in Bob Dylan and folk music as she is in Radiohead and, for lack of a better word, alternative music. This EP really sticks with you. After a few listens, I was walking around and singing the songs, and listening to the disc on repeat. And for me, repeat is one of the highest forms of flattery.
Check out a live performance of “Traipsing Through the Ailses” below.
Published on October 29, 2008 in Album Reviews. Closed
I was a mere lad when The Clash played their epic gig at Shea Stadium, opening for The Who on October 12, 1982. Technically speaking, I was just shy of my 12th birthday. I wasn’t yet loyal to any one band and was just starting to figure out the music scene and my place in it. That all changed for me when I heard Give ’Em Enough Rope a few years later. While this is perhaps not The Clash’s finest album, it was my gateway.
So now I’m not a mere lad. I, in fact, have a lad and lass of my own now. But the release of The Clash’s set from Shea Stadium proves, once again, what a great band they were. The set is thrilling to listen to. It’s the band at the top of their game, although teetering on the brink. They had recently fired drummer, Topper Headon, due to his drug use. Tensions were high. (The 11/08 issue of Relix has a great story about the gig.)
It is great to hear some of their older songs played with The Clash’s later influences, such as early hip hop, mixed in. This is chill inspiring stuff, and that’s what matters most about this recording. It’s a testament to the fact that music can save your life. For me, The Clash was one of the first bands that proved this to me. However, Live At Shea Stadium shouldn’t be viewed as an epilogue to The Clash’s greatness. It should be viewed as a further proof of their continued power and influence.
''Whether it's jazz or punk or anything else, you have to fight against the purists who want to narrow the definition. That's what kills music because it stifles it to death.''
—Joe Strummer
“American Slang.” The reason is simple. The first time I listened to the Gaslight Anthem reminded me of what it was like to fall in love with rock & roll. And to be able to capture this emotion is no small feat.
