18 posts tagged “music_review”

Marshall Crenshaw, Field Day Rating=$$$$$
[Support the Artist; Artist's MySpace Page]
How I Got This CD: Bought used in Rhode Island.

Note: To stream the sample tracks, click on the thumbnail image in this post.

Continued from the previous Marshall Crenshaw posts: Part 1.

This is a solid follow-up to Crenshaw's debut album. The tunes are equally catchy, and equally well-crafted. The sound isn't as stripped-down as it was in the debut album and there is more of a world-weary sense to the lyrics. In many ways, Field Day is the prefect bookend for Crenshaw's debut, much like the second chapter in a really good book.

Like the debut album, this one was very, very hard to narrow down to some key MP3s. The good news (or maybe it's bad news), a lot of the songs are not well-known on this album. As a result, it's both a delight and surprise, especially since at the time I bought it, it had become devilishly hard to find. It's since gotten a lot easier to get your hands on it, in large part because it's easily available online.

Of course, I had to include my all-time favorite tune, 'Whenever You're On My Mind,' what is easily the most perfect pop song ever, made its actual debut in the public eye on this album. Nothing makes me smile more than the opening bars of this song. Nothing. This is the must-have, so much so that even if it was the only song on the CD that was any good, the CD would still be worth buying. Question: Can you write a love song where the word 'love' or any other mushy sentiment is never, ever used? Answer: The song says, "Oh, yes!"

'One Day With You' is more orchestrated, especially in comparison to 'Whenever You're On My Mind,' so much so that Crenshaw's vocals seem to be almost overwhelmed. Despite that, the lyrics are too good to get completely lost. What really makes the tune is the retro-rock guitar riff. Ahhhh, they just don't make them like this any more.

For some reason, 'Monday Morning Rock' cracks me up. I don't know if it's the clever lyrics, or the picture of a guy who's so sick and tired of being a good-time Charlie on the weekends that he actually looks forward to the weekdays so he can relax into a little everydayness. Even with the pop-y beat, there's something relaxing about this tune.

'All I Know Right Now' for some reason reminds me of Crowded House, from lyrics to musical feel to even the sound of Crenshaw's voice. Since this CD came out before Crowded House even existed (although it would be contemporary with the Finn Brothers' first band, Split Enz), it's funny state of affairs — at least I think so.

Marshall Crenshaw, Marshall Crenshaw (Rhino re-release) Rating=$$$$$
[Support the Artist; Artist's MySpace Page]
How I Got This CD: Bought the cassette tape used in Boston. Lost it. Bought the original 12-track CD used in Rhode Island. Found the Rhino re-release during my Bordersverse daze and bought it new during employee appreciation daze. What? I warned you I was a drooling fangirl.

Note: To stream the sample tracks, click on the thumbnail image in this post.

Detroit-born rocker Marshall Crenshaw has been all over your radio dial (you may not know that), sneaking onto your television shows (you'd be surprised where he's turned up), hanging around in your movies (you may not know about that either), on your bookshelves (he's written and contributed to several books), and did his time on stage (road show version of Beatlemania). His debut self-titled album is considered not just a classic, but a must-have for fans of power pop and new wave. His live performances are fantastic, even without a band backing him. He has a reputation for both intelligence and just being a nice guy. As far as I'm concerned, one of the enduring mysteries in the history of American pop is why the multi-talented Crenshaw isn't monster huuuuuuuge.

I can only conclude that he was either born too late — as in past the point where the perfect 3:05 pop song was considered the height of awesome — or born too soon — since I suspect MP3 love would've helped immensely in spreading the Pop Gospel of Crenshaw. I can't make up my mind on which it is.

In either case, I've been following Crenshaw's career for *mumble-mumble-mumble* years, starting with his time in the Warner Brother salt mines, through his single official RCA release on the now-defunct Paradox Records label, his present run with indie music company Razor and Tie, and the Rhino Records re-releases and collections. I've sniffed out rare releases, live limited-release CDs, and DVDs of his live performances.

I even checked out his #447 tour when it hit the Boston area (nothing is better than Crenshaw and just his guitar) and sat next to him in the small bar he played while he chowed down on dinner. The funny thing about this anecdote is that Crenshaw was eating with all of us patrons who had paid a cover charge to see him perform later that night. Not one of us went up and bothered him for an autograph. Let's hear it for reserved Bostonians who know the meaning of personal space, hunh? And believe me, we all knew who he was.

Anyway, the funny thing about the crowd that night was that a whole bunch of them had actually worked at Boston-area clubs during the 80s, back when Crenshaw almost managed to break through to the big time. The reason why they were paying to see him almost 20 years later? Because he was nicest performer they had ever worked with or for while he was barnstorming on the strength of his debut album. He was so nice, he made them die-hard fans for life.

There's something wicked awesome about that.

And before you ask, yes, that really is Marshall Crenshaw's MySpace page. I got to it through his Web site.

God. Now I look like a complete stalker fangirl. It's actually kind of embarrassing.

If you love pop, if you love new wave, or even if you love good music, the original 12-track CD is a must-have, whether you're a Crenshaw fan or not. Every song is a perfect gem of pop awesome in a toe-tapping, butt-dancing orgy of musical genius. Crenshaw's craft and discipline in both writing music and lyrics shine through and gives the listener a true musical treat for the ears. No matter how bad my mood, no matter how much my life sucks, this cassette tape and later CD never failed to lift my spirits and make me ready to take on the world. There is nothing bad about or on this CD. As a debut CD, there are none better.

The Rhino re-release (God Bless Rhino!) goes one step further by adding 9 tracks' worth of B-sides, demos, and rare tunes (the CD actually lists 8, but there's a hidden track after Crenshaw's live 1981 cover of 'I've Been Good to You'). Even if you've got the original release, the Rhino re-release is worth having and loving to death.

Choosing the sample tracks from this fabulous CD package was a hell of a lot harder to do than you'd think. Although you'd think the big hit off this CD, 'Someday, Someway,' would be the crown jewel in this CD, you'd actually be wrong. Every song is as infectious, as catchy, and as good as Crenshaw's signature song.

Because 'Someday, Someway' was so huge when it hit the airwaves back in '82, and because it is one of the best known songs on the CD, I'm including it as part of the downloads. However, this slick, ready-for-radio version isn't my favorite version of the song. Still, I highly recommend giving it a listen.

'Cynical Girl,' which is also off this CD, happens to be my back-up theme song for life. (My first theme song for life is 'Brown-Eyed Girl' by Van Morrison.) How can I not love a love song to the world's most imperfect woman? No, seriously. It's pure love. Tell me I'm wrong.

Also in a bit of a twist, 'Someday, Someway,' while one of my faves of his, isn't actually my all-time favorite song from Crenshaw's pen (it's not even my second or third favorite). My favorite Crenshaw tune, believe it or not, is reserved for 'Whenever You're On My Mind.' And because Rhino obviously can read my mind, and because they obviously love me, they included a 1979 demo of this song in the additional tracks. It had to be included in the sample tracks.

The final sample track is a live 1982 cover of 'Look at What I Almost Missed' by the Parliaments (George Clinton's first band). It's a fun tune, and gives you a little taste of Crenshaw live.

Borders, Music = Life Rating=$$
[Support the Artists]
How I Got This CD: Freebie demo from my Bordersverse Daze


Note: To stream the sample tracks, click on the thumbnail image in this post.


Well, here's another example of the Penny CD and what corporations consider a "good" music mix, this time courtesy of Borders and BMG, thus proving why individual consumers are much, much better at this sort of thing.

Of course, since individual consumers aren't actually using the mixes as a marketing tool beyond, "Check this cool artist I've included...think you could throw some love their way," it's probably no big shock.

Like with Blue2002, in the previous post, I'm going to offer this whole CD for download. The reason is simple: It's out of print, it was meant to be passed around (or thrown away), and it is supposed to be a big ol' marketing thing.

Anyway, a lot of this is soft pop, and judging by the choice artists on this CD, it seems to be geared to the older Gen Xers and the younger Baby Boomers. If that's the case, then why does this CD bore the tits off me? What's really mystifying is that I like most of these tracks as individual tunes, but listening them to back-to-back really rubs my ears the wrong way. Looking at the track listing, it should be a good mix, and yet...it's just not.

I know a good mix when I hear it and this...is not a good mix. I wish I could be more specific about where it misses the boat, but I can't. No matter how hard I try.

In either case, it's terrific background music if you're plugging away at work, but if you're looking to get the heart pumping and the body moving, this one is a snoozer.

Borders, Blue2002 Rating=$$
[Support the Artists]
How I Got This CD: Freebie demo from my Bordersverse Daze


Note: To stream the sample tracks, click on the thumbnail image in this post.


Ahhhhh, now this is a throwback to my Bordersverse daze: the Penny CDs.

The Borders Books and Music private label Penny CDs (I suspect that Barnes and Nobles has something similar) are a clever marketing ploy to get people to spend more money in the store's music department. To give Borders a credit here, in general, the Music/DVD/Multimedia department tends to have a very, very, very deep selection of genres and artists (it's usually better than the neighboring Barnes and Nobles when comparing local stores head-to-head...sorry B&B fans), and these Penny CDs are just one way to capitalize on the inventory.

The Penny CDs are of the cheap "blink and you'll miss the cellophane-wrapped cardboard envelope" variety. We'd probably get them a couple of times a year and would have to put them out on just about every available customer service surface, complete with the sticker that marked it as one penny. To be honest, the penny and the sticker were strictly for inventory tracking purposes. Usually, if you bought something, you didn't even pay the penny (it was taken off at the register). The only time I'd seen anyone charged for these compilations was if the Penny CD was the only thing they were getting.

The Penny CDs are designed to introduce customers to new artists or a new musical genre. Then (Borders hopes), you'll come flying back to the store ready and eager to spend money in the music department, where we would lovingly Hoover more money out of your wallet.

Which isn't a bad thing, by the way. I just want to be clear that this isn't a criticism.

The problem with the Penny CDs, however, is that they're uneven almost by design. The general idea was to get people to listen to the CDs at least once before either tossing it out or giving the CD away to a friend (as I have already given this CD away to a friend). So, the approach to developing these Penny CDs seems to be: 1) develop a pretty generic theme; and 2) take the scatter-shot approach when choosing the tracks that just might, maybe, perhaps, fit the theme.

Then you have to consider that you need to get a wide variety of different artists on that CD. You need at least one or two headlines to get someone to pick up the Penny CD, while shoving a bunch of lesser-known artists on most of the tracks. If the Penny CD is around a "theme," you're going to get a mix of genres. If the Penny CD is around a music genre, you're going to get artists from across the spectrum of that genre.

The mixes on the Penny CDs are not generally the most inspiring on the planet. In fact, I'd even say that 50% to 75% of the tracks on most of them is a complete waste. But then again, my "waste" is probably someone else's goldmine.

So, without further ado, my first salute to my Bordersverse days via one of my Penny CDs.

I should say that I'm taking a slightly different tact. I'm going to simply offer this CDs in its entirety via the magic of Zip files. I figure why not. The Penny CDs were designed to be passed around or thrown away (after you make note of the artists you like).

Without further ado, here's the first of two, Blue2002, a Borders Penny CD created in conjunction with Blue Note Records.

This particular CD was actually designed to push the latest releases from artists recording under the Blue Note Records label. I find some of the tunes on this collection downright annoying, and others kind of relaxing. Either way, this Penny CD (or at least some of the tracks) are good ones to have if you need to hide under headphones at work and concentrate on the task in front of you. The best of the bunch is Cassandra Wilson, Bobby McFerrin, and Medeski, Martin & Wood (Note: Medeski, Martin & Wood are an awesome live band, so if you get a chance to see this jazz trio, don't turn it down.)

Bond, Born Rating=$$
[Support the Artist]
How I Got This CD: Free demo from my Bordersverse daze.

Note: To stream the sample tracks, click on the thumbnail image in this post.

The good news: This is an awesome CD to have around if you're creating mixes and need a dance-fusion-world beat-classical tune to sneak into the tracks. Most of the tunes have a movie score feel to them (something that may have been deliberate)

The bad news: Listening to the entire CD with back-to-back tracks will bore you to tears. So, it makes it great background music for the cube, but not really great background music for anything else.

Oh, what's a music hound like me to do?

Well, for one thing, I'm not going to dump the CD. I've already used two tracks off this CD in two different mixes ("Alexander the Great" and "Duel"), and no doubt I'll probably use more tracks as the need arises. That said, I'm glad I didn't have to pay for it.

The CD is mostly instrumental (there's some minor vocal work on some of the tracks). The stringed quartet of Bond are undeniably talented classical musicians (although classical music enthusiasts may disagree with my take), and I think the CD may be an interesting entry point to draw non-traditional or new audiences into the classical music world. Certainly, Bond has the germ of something good here, and Born is one of their older CDs. Later works might show a vast improvement over this 2000 release.

Below are some solid tracks that are worth the listen, if nothing else.

"Quixote," the first sample track, definitely has that mid-movie soundtrack feel. You know the point I mean. The part where the hero or heroine is running his or her ass off through southern Spain with the supah-sekrit payload in their backpack while all manner of bad guys (and gals) are chasing him or her to get their hands on the goods.

"Victory," the second sample track, does make me giggle. Remember "A Fifth of Beethoven" from the Saturday Night Fever movie soundtrack? This is on the same, although with half the bombast and twice the disco beat.

"Kismet," the third sample, is back to that whole movie soundtrack feel. There's something Casablanca-ish (the movie, not the music) about it. I'm not sure what to make about this one. The violin work is sweet and ethereal. I could've done without the electronica, though.

"Korbushko," the final sample track, has that Russian sound that I love in my violins. Even better? No electronica. If you only download one track, this is the track to snag.

James Hunter, People Gonna Talk Rating=$$$$$
[Support the Artist]
How I Got This CD: Bought on the spur of the moment while standing at the counter in the local Starbucks.

Note: To stream the sample tracks, click on the thumbnail image in this post.

I once got into a massive fight with a friend of my brother over the merits of analog vs. digital music recording. I insisted that even through digital may have a cleaner sound, to my ear, analog simply had a better sound. The tones are fuller, the treble end is sharper, and the base end is deeper. The philistine insisted that I knew nothing about "real sound," because, mathematically speaking, digital was superior.

Yes. You heard that right. "Mathematically speaking," as if music could and should be boiled down to an algebraic equation.

Yet, no matter how I pointed out that natural sound is analog (not digital) and that live music is analog (again, not digital) and even though we compared vinyl loveliness with CD thinness, I was declared both "an idiot" and "a Luddite" simply because I would not back down on this point.

Now, I agree that digital has its charms and offers its own set of rewards in exchange for that fat analog sound, but I confess that there are days that I miss the hiss and crack of a needle across vinyl.

Enter James Hunter with People Gonna Talk, which, according to his website was recorded using all analog equipment, from the instruments to the recording equipment. The result is a full, warm, gorgeous sound that I thought was lost somewhere in the mists of my dad's 45s and LP collection. All it's missing is the hiss-and-crack of needle on vinyl, and the experience would be complete.

It brought a tear to my eye. Truly.

James Hunter is part of the blue-eyed soul brigade and, according to his AllMusic biography, British. What I especially like about this CD is that the 1950s R&B whiteboy feel isn't played for laughs or kitsch, but with very serious musicianship and intent. That's not to say that there's no sense of fun — the CD packaging includes a look and feel right out of the '50s, complete with caricatures of the band drawn by Hunter himself. Because Hunter takes the business seriously, it allows the listener to truly enjoy the full 40 minutes on this CD in a completely guilt-free and unselfconscious way.

This CD has it all. Tight musicianship. Clever lyrics. A pop feel enhanced by the short runtime of the individual tunes themselves. A sense of fun. But most important, that analog sound (God, how I missed you!). This one is definitely a keeper. Run, don't walk, to get a copy for yourself.

Ironically, I actually got his 2001 release, Kick It Around, as a demo during my Bordersverse days. I haven't had a chance to listen to it (sadly). It appears I'll have to dig it out and determine if the earlier release is as much of a gem as Hunter's latest.

Blue October, Foiled Rating=$$$$
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How I Got This CD: Bought wicked cheap from Amazon.

Note: To stream the sample tracks, click on the thumbnail image in this post.

Continued from previous Blue October posts: Part 1, Part 2, and Part 3.

I easily enjoyed this solid CD from Blue October. It's certainly more even than, say, History for Sale, but doesn't show the genius of the live album Argue With A Tree or the originally of Consent to Treatment. Although there is an advisory on this album (as well as enhanced features that spin up if you slip this into the computer), the lyrics and language are nowhere near as trigger-y or as explicit as what you'd find on their earlier stuff. If anything, Foiled is probably the most mainstream album this band has ever put out.

But then again, this is Blue October. When I say "mainstream," I mean, "relatively speaking." There is the usual whiplash you get with this band as they stray from one musical style to the next, although the sharp breaks in style aren't quite as violent and most of the music is more introspective than angry. One thing that is somewhat shocking is that much of the tunes on this album bear striking similarities to other bands and solo artists — although there seems to be a lot of cross-genre going on, so it isn't like the band sounds like a Peter Gabriel or a techno band from the early 90s all the time.

The sound mix on this CD is excellent, with often subtle aural gems lurking in the background that range from gospel singers to crowd cheers. However, Ryan Delahoussaye distinctive violin is sorely missed on this album. Oh, he's there. It's just not nearly as prominent as it has been in the past.

All streamed MP3s strike me as worksafe and lacking in triggers. I highly recommend all four. 'Let It Go' has a vaguely Peter Gabriel feel about it, aided immensely by Delahoussaye's violin at the beginning. 'Congratulations' with Imogen Heap providing the female vocals reminds me quite a bit of Toad the Wet Sprocket. 'X Amount of Words' sounds like just a techno-beat song right out of the '90s. 'Everlasting Friend' is a mellow little tune that sounds a little bit more like the Blue October I know and love

History for Sale Rating=$$$
[Support the Artist]
How I Got This CD: Bought used on Amazon almost a year-and-a-half ago.

Note: To stream the sample tracks, click on the thumbnail image in this post.

Continued from previous Blue October posts: Part 1 and Part 2.


If History for Sale suffers from anything, it suffers from MPD. One track may be raw, angry, and deeply personal, like 'Razorblade.' The next may be fluffy, Top 40-friendly head-nodding pop fare like 'Calling You.' The aural whiplash can be a a trip-and-a-half if you're not prepared for it. Despite that, though, I do like the CD, but more for its parts than its whole.

Warning: 'Razorblade' isn't just NWS, there may be triggers for people hidden in them thar lyrics. We're talking cutting, rape, incest, and religion-based abuse. Unfortunately, there's no comfort for this hurt. The best that can be done is the primal scream where the minister and uncle in the song is refused forgiveness and called "a sick fuck."

The real standout on this CD: 'Somebody' is a furious anthem that — depending on my mood — could be about an imploding relationship or it could be about someone screwing up his life by making the same mistakes over and over again.

'Calling You,' like I said, was used on the American Wedding soundtrack and received some radio airplay. It's a sweet little poppy tune. It's even, dare I say, conventionally romantic. Considering this is Blue October, that's nothing short of a freakin' miracle. 'A Quiet Mind' is probably my least favorite track among all these MP3s. The only thing it really has going for it is the disconnect between tune and lyrics. It sounds like another sweet love song, but it's really an anthem of co-dependency

Consent to Treatment Rating=$$$$
[Support the Artist]
How I Got This CD: Bought used on Amazon almost a year-and-a-half ago.

Note: To stream the sample tracks, click on the thumbnail image in this post.

Continued from previous Blue October post.


Of all the band's CDs listed here, this one is the most slickly produced. In addition, unlike the other CDs, Consent to Treatment doesn't carry any parental warnings, so it's pretty safe to buy it as is (I always go with what the artist inteded myself, so parental advisory warnings for me!). The flow of the tracks works very well here, even if the singing and the lyrics tend toward the self-conscious side.

Don't get me wrong, Consent to Treatment is a terrific CD and well-worth the investment. It's just that it suffers by comparison with Argue With a Tree with its live-in-concert energy. The other issue is that Delahoussaye's violin work, which is a big part of Blue October's distinctive sound, isn't quite as prominent as I'd like it. It's sort of like yelling, "More cowbell!" when the music you've got is pretty damn good.

Just the same, I picked samples where the violin was more prominent.

Blue October, Argue With A Tree Rating=$$$$$
[Support the Artist]
How I Got This CD: Bought used on Amazon almost a year-and-a-half ago.

Note: To stream the sample tracks, click on the thumbnail image in this post.

I swear to God that Blue October is one of those bands that had been hovering on the edge of break-out status since they released Consent to Treatment 6 years ago. Lord knows I started hearing chatter about them after they released History for Sale 3 years ago. I finally gave up and invested in the band's Universal releases after seeing them perform live through the magic of Music Choice on Cable. Yeah. I was that impressed.

Yet, for all the awesome in two solid studio albums — Consent to Treatment and History for Sale — and a fantastic double-CD live album in Argue With a Tree, they've managed to completely fly under the radar.

Until now.

Blue October probably first got widespread attention when "Calling You" from History for Sale was featured on the American Wedding soundtrack. However, it seemed the band sunk below the waves shortly thereafter. The only follow-up was their live album, Argue with a Tree, in 2004. It was an awesome treat for people who were already fans of the band, but didn't really build on the slight momentum they'd gotten with "Calling You."

Now comes Foiled, which is shaping up to the be the band's big breakout. Foiled (which is not included here because I'm still waiting on Amazon) has already gone Certified Gold and its first single, "Hate Me," has reached number two on the Billboard Modern Rock charts. A second single, "Into the Ocean," is slowly climbing up the same chart. Other singles have been released and have been popping up on different radio stations all across the U.S.

In short, a whole lot of people have finally discovered this band.

*sniff* I remember going through this with REM *sniff*

I should maybe put in a warning or two here. Some of the subject matter may be considered "triggers" for some of you or may contain language that is NWS. What little I've read on the band seems to indicate lead singer and band songwriter Justin Furstenfeld is mentally ill and has recently kicked a drug habit. After spending some time listening to the lyrics on many of these songs...I believe it.

Warnings for any triggers and NWS language can be found on the individual sample tracks.

Like I said above, watching their live performance on Music Choice convinced me to throw some financial love Blue October's way. This CD convinced me that I was not wrong to do so. The organic live performance on this 25-track double CD adds more fuel to Furstenfeld's raw, emotional lyrics. The band's musicianship is tight, while being flexible enough to accommodate the enthusiastic crowd. Furstenfeld's voice is in fine form as his vocal work vacillates between melodic and furious snarling. Best of all, however, the talents of rock violinist Ryan Delahoussaye receives the spotlight it deserves. If you're looking for an energizing and electric performance that offers splashes of some deeply personal and moving moments, you simply can't go wrong putting this in the CD player.