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Monday, December 21, 2009The Yearvolution: 2009 In ReviewBy: David Schultz 30. Paul McCartney at CitiField  As The Beatles played the most historic concert in the history of Shea Stadium, it was only fitting that Paul McCartney would play the first live shows at its successor, CitiField. For three balmy (and rainy, well drizzly) nights in July, McCartney gave a show for the ages that appealed to all generations, covering all areas of his Beatles career, offering up the best from his days with Wings and touchingly honoring his wife Linda, George Harrison and John Lennon. Returning the favor from his “Last Play At Shea,” Billy Joel joined McCartney for his opening night encore, adding his own “whooo” to “I Saw Her Standing There.”29. Metric: Fantasies  On “Gimme Sympathy,” Emily Haines poses the age old bar question, “Beatles or Rolling Stones?” Namedropping such classic rock titans gives you a sense that Emily Haines has some grand ambitions for her post Broken Social Scene career. By the time the arena rock bombast of “Stadium Love” closes the album, you can be sure of it. You never love to see any of your underground favorites make an album so broadly appealing that the mainstream homogenization process becomes inevitable. Fantasies makes it a little more bearable.28. Future Of The Left: Travels With Myself And Another  “Come on, Rick,” you didn’t hear of Future Of The Left in 2009? A shouty little band from Cardiff, Wales that boasts 2/3 of mcclusky, Future Of The Left bashes out erudite three minutes bursts of politicized punk; its like The Clash, only without the bouncy traces of ska. Like every great band with punk leanings, attitude and volume can only carry you so far. Without a whit of intelligence, whether academic or street savvy, its all sound and fury signifying nothing. Future Of The Left has the complete package; never has a band’s boast that we need Satan more than he needs us sounded so rational . . . and loud. The memory of LeRoi Moore, who passed away in the midst of the Big Whiskey recording session, looms large throughout the Dave Matthews Band seventh studio release. All of the trademarks you would expect from a DMB album are present - intricate musical arrangements, Matthews’ cycling through his gruff to falsetto vocal range, Carter Beauford’s booming drums – but they seem to be working at a more inspired level. The result is the Matthews Band's most entertaining and ambitious album since their 1994 debut.26. The Dead Weather: Horehound  I think we’re at the point where nothing Jack White does should be surprising. One side project not being enough, White jumped behind the drums, recruited Allison Mosshart from The Kills and Dean Fertita from Queens Of The Stone Age and created yet another great band with hard hitting drums, concise guitar licks and impassioned lead vocals permeating the album. As it has the gritty "Hang You From The Heavens" and the cocky "I Cut Like A Buffalo," it seems like nitpicking to complain that Horehound omits their marvelous cover of Gary Numan’s “Are Friends Electric?”25. Japandroids: Post-Nothing  On their first full-length release, the Canadian guitar and drum duo of Brian King and David Prowse envelop all the wondrous dreams and grand expectations that can only be maintained by the young in a magnificent haze of beautiful noise, drowning shoegazing guitar work in oceans of reverb. On “Wet Hair,” they envision themselves going to France so they French kiss a French girl and on “Heart Sweats,” the chorus needs nothing more than the quaint “xoxoxoxo” to get its point across. Their North American tour was derailed by a medical emergency before it could get off the ground, so 2010 will be the year they bring their music to the people.24. Antony & The Johnsons: “Aeon”  With his ghostly, ethereal voice and herky-jerky stage contortions, gender-neutral Antony Hegarty has always eluded simple definitions He does fall in the category of those performers that need to be seen, if only to prove to yourself that that voice comes from a human being and not an otherworldy aesthete. Probably the most startling track from The Crying Light, which easily wins the prize for the year’s most disturbing cover, "Aeon" puts Hegarty's indescribable talents in their finest light. An absolutely gorgeous song, Hegarty sings with an urgency rarely found in his airy poetic commentaries, his passion rising above the lush orchestration to provide one of the year's most moving songs.23. Living Colour: The Chair In The Doorway  Don’t call it comeback, cause they didn’t go nowhere; Living Colour reemerged in 2009 with the same sonic assault that made them a genre-busting revelation in the pre-grunge era. On The Chair In The Doorway, bassist Doug Wimbish and drummer Will Calhoun operate at a staggering level of speed and sophistication, Vernon Reid crunches through the avant-metal riffs that have become his calling card and Corey Glover offers his customary array of trenchant observations. A cerebral funk-metal band, Reid’s tapping of the spiraling guitar hook to “Behind The Sun,” his slide work on “Bless Those” and Glover’s knockout vocals on “Not Tomorrow” help make this Living Colour’s most eclectic album in years.22. tUnE-yArDs: BiRd-BrAiNs  Girls are still imitating Liz Phair, recording full length albums in the comfort of their own bedroom, only now they have Pro-Tools at their disposal. Merrill Garbus’ uncomfortably capitalized usage is just part of her wonderfully skewed musical vision. Whether it's methodically introducing layered instrumental loops over her sweetly innocent mediations as she does on “Sunlight” or unleashing them in a raga-infused burst like on “Hatari,” With its emphasis on recorded repetition and lack of reliance on guitar riffs and drum rolls, BiRd-BrAiNs offers a glimpse at the lush music textures that will be springing out of home studios across the globe and gives purist's a reason to not dread the future.21. Pearl Jam: Backspacer  Pearl Jam has always been at their best when they feel slighted or unheard, the role of the feisty underdog suiting them better than perhaps any band that's come before them. Now that the Obama era has seemingly left Pearl Jam without a villain to fight, they seem oddly happy. A compact little album, Backspacer zips along, full of moody Eddie Vedder elegies and thrashy little rockers that serve as a pleasant reminder that Mike McCready and Stone Gossard can build a song like no other. Having taken over the means of their own production, the grunge rock stalwarts are settling nicely into their role as stately rockers. 20. Wooden Shjips: Dos  On Dos, the band’s second album, Wooden Shjips offer another dose (see the title works on so many levels) of hallucinatory garage rock, stretching five songs over a quickly paced forty minutes. On “Down By The Sea” and “Fallin’,” the albums two lengthiest jams, bassist Dusty Jermier and drummer Omar Ahsanuddin lock in to a repetitive rhythm, hitting it early and not wavering from it one iota. The subtle repetition lulls you in and when Ripley Johnson unleashes his reverb heavy guitar licks on top Nash Whalen’s Ray Manzarek inspired organ melodies, you get a sense of what the 21st Century Doors should really sound like.19. The BPA: “He’s Frank”  Always the master of finding the right sample for whatever groove he’s working on, Norman Cook nee Fatboy Slim broadened his horizons for I Think We’re Going Need A Bigger Boat, his first offering under the moniker of The Brighton Port Authority, by working with singers instead of snippets. Hearing something in The Monochrome Set’s new wave obscurity “He’s Frank” heretofore unheard, Cook brought in Iggy Pop to lay down his inimitably droll vocals over a revved up funky beat. No one released a more enjoyable song that drips with this much credibility.18. Levon Helm: Electric Dirt  Expanding on the quaint folksy sound of The Dirt Farmer, his Grammy-winning effort from 2007, Helm livened up some standards, introduced a few Americana-sounding originals and plucked “Tennessee Jed” from The Grateful Dead for his follow-up, Electric Dirt. By keeping the recording within his Midnight Ramble family, all of the staples of Helm’s Rambles are present: the horn section busts out a true New Orleans flair on Randy Newman’s “Kingfish” and Larry Campbell’s violin brings out every bit of pathos in Helm’s distinctively raspy voice. Electric Dirt would work in any era but coming now, following his battle with throat cancer, it shows that Helm still has a lot of music left in his soul.17. Dan Auerbach: Keep It Hid  One half of the Black Keys, Auerbach’s debut solo effort was a sparkling affair. The baleful, empathetic acoustic blues of “Trouble Weighs A Ton,” “When The Night Comes” and “Goin’ Home” are filled with a naked emotion and a touch of pathos, generating earnest pleas from the depths of soul. It’s a fine contrast to the menacing stomp of songs like “The Prowl,” “I Want Some More” and the superlative “Heartbroken In Disrepair,”which shows that wherever Auerbach goes, reverb-heavy guitars will follow.16. Fuck Buttons: Tarot Sport  Naming themselves in such a fashion that assures they will never be written about in mainstream publications, Fuck Buttons work on a level of industrial intensity few others can match. On Tarot Sport, Brits Andrew Hung and Benjamin John Power refine their abilities to concoct hypnotic soundscapes out of psychedelic drone, tribal click-clacks and mechanized noise. Tinkering with each song as it unfolds, adding sounds that didn't seem like they were missing until they appear, Fuck Buttons shatter all modern song structure conventions. Tarot Sport will make you wish you did Ecstasy or at least wonder if their a tab of acid left over from the college days. By combining airy melodies, derivative of wistful Walt Disney soundtracks, with wicked Talking Heads new wave guitar riffs, St. Vincent nee Annie Clark has worked her way into the hipster circle of trust: criticize her at your own peril. The waiflike Ms. Vincent, who bragged about spending while Jesus saved on her debut Marry Me, still dips her toes in the pool of self-aware ennui, this time begging to be saved from her own desires on “Save Me From What I Want.” Take heed though, the Breakfast At Tiffany’s wide-eyed naiveté is all a show, Actor is a savvy little bit of new wavish pop.14. Leonard Cohen Returns To America  When ABBA is inducted to the Rock & Roll Hall of Fame in 2010, Leonard Cohen will lose his title of being the most unlikely member of the institution. Returning to the stage after a lengthy absence, reportedly due to crooked financial advisors looting his retirement accounts, Cohen's unretirement tour finally made its way to America in 2009. As if ageless, Cohen mesmerized sold-out crowds with his neo-romantic visions, bohemian patois and preternaturally, oh-so-calm-and-reassuring deep voice. His ability to leave listeners spellbound should be required study for every American Idol candidate that thinks melisma and histrionics are the keys to the entertainment.13. U2: No Line On The Horizon  When you’re the largest and most relevant band in the world, any album, even one that doesn’t break through any barriers or mark a monumental shift in musical focus, rises like cream atop the rest of the year’s releases. No Line On The Horizon may be a bit more of the same from the Irish superstars, but its still a worthy effort. Made for the stadiums in which it would be played, Larry Mullen's drums on "Magnificent" come charging in as if on a thoroughbred and you can still recognize Edge's guitar work from its brilliant simplicity. Oh yes, and then there's Bono. Only the greatest live performer not named Springsteen could propound the simplistic sentiments of “I’ll Go Crazy If I Don’t Go Crazy Tonight” and make them sound profound. 12. Grizzly Bear: Veckatimest  The Fleet Foxes and Bon Iver benefitted the most from Yellow House, Grizzly Bear’s 2007 release that paved the way for achingly beautiful, methodically evolving chamber room indie-rock. On Veckatimest, the meticulous progressions of “Two Weeks” and “Cheerleader” seem almost peppy by Grizzly Bear standards but at heart, it’s their ability to underscore bucolic harmonies with plaintive, haunting melodies that makes the album such a compelling listen. Depending on what strata of music you’re considering, Grizzly Bear rightfully deserves mention as one of the decade’s most influential bands; Veckatimest surely helps the cause.11. Bob Dylan: Together Through Life  Surprising everyone with his March announcement of its April release, Dylan continued his remarkable renaissance, taking his music to a Mexican border town and letting it wander around in the dust to soak up the atmosphere. Dylan’s forgotten more about traditional American music than most will ever absorb and on Together Through Life, his facility with blues, country and folk makes them all resoundingly come alive. From the Spaghetti western feel of “Beyond Here Lies Nothin’” through the bluesy jazz of “Jolene” to the raucous barroom romp of “It’s All Good,” Dylan shows he’s still got a lot of fuel left in his tank.10. Andrew Bird: Noble Beast  Making use of a violin, xylophone, a looping machine and a marvelous ability to whistle, Bird makes fantastic music out of the instruments most people abandon after elementary school. From "Anonanimal" through "Tenuousness," Noble Beast offers a true cerebral experience, a highly literate effort that truly is one instead of a fancy way of saying that the punk rocker sounds smart. Quirky, almost to a fault, Bird’s masterful grasp of the language and penchant for creative wordplay make a perfect match for his intricately plotted songs. Available for only a limited time, Useless Creatures, an instrumental companion album, showed the even wider breadth of Bird’s creativity than revealed on Noble Beast.9. Leroy Justice: The LoHo Sessions  Leroy Justice is a rock and roll band, plain and simple. Jason Gallagher’s confident vocals, Sloan Marshall’s timeless organ riffs and Brendan Cavanaugh’s Skydog- quality slide guitar burrow into the recesses of the rock and roll soul. Evoking an instinctive yet familiar response that only fine classic rock can generate, The Loho Sessions may have arrived more than three decades too late. Were it 1972, we would be talking about it as reverently as we do Exile On Main Street and Eat A Peach. It’s a glorious revelation to know that bands still make this type of music.8. Dirty Projectors: Bitte Orca  To take the term back from John McCain, Dave Longstreth and The Dirty Projectors are part of the New Mavericks of rock and roll. Rather than latching onto a genre, the Projectors simply make music and go in whatever direction it needs to go. If the song doesn’t need a chorus, one isn’t forced in; if a glockenspiel would make things sound better, no preconceived notion keeps it out. Bitte Orca gets better with each listen because there’s so much to hear. New York Magazine seemed to think so. Now that they've gotten around to realizing that there's a music revival going on in Brooklyn, they latched on to Longstreth and his band as the scene's poster children.7. Fever Ray: Fever Ray  A captivating effort, Karen Dreijer Andersson a/k/a Fever Ray has crafted the soundtrack for any episode of Miami Vice where Crockett & Tubbs pensively traveled down the highway in a convertible or required Don Johnson to dump a girlfriend who just happened to be involved with the drug dealer they were about to arrest. Practically subsuming her entire identity beneath studio distortion, Andersson uses her vocals to accentuate the album's wide swath of thumping ambient beats, warbling seductively just as often as she wails away with Bjork-like abandon. Fever Ray is a slyly seductive form of industrial raga, unleashing the Swedish pop demons that lurk beneath the slickest of mainstream hits in a manner destined to appeal to the denizens of the dankest of basement clubs.6. Black Crowes: Before The Flood . . . Until The Freeze  Recorded before a live audience in Levon Helm’s barnyard studio in Woodstock, New York, the Black Crowes rediscovered the Americana soul that has always simmered beneath their Southern soul stew. Luther Dickinson, now firmly in the fold, makes his presence felt adding a surfeit of gritty and sultry nuances to Before The Flood. However, it’s the bonus album, Until The Freeze, that is the true gem. With Larry Campbell sitting in, the music unfolds as if it’s being played around a campfire in the wee hours of the morning under a cloudy, smoky haze, the music spilling forth in a rustic mélange.5. The Rock & Roll Hall Of Fame Shows At MSG  Mick Jagger and Bruce Springsteen sitting in with U2, John Fogerty and Billy Joel joining Bruce Springsteen & The E Street Band, Metallica welcoming Lou Reed, Ray Davies and Ozzy Osbourne, Stevie Wonder hosting Smokey Robinson, B.B. King, John Legend, Sting and Jeff Beck. Not a bad recipe for a memorable show. Add in Simon & Garfunkel, Crosby, Still & Nash and Aretha Franklin and you have not only the concert event of the year, but possibly of the decade. When the Rock & Roll Hall of Fame wants to celebrate a 25th Anniversary, they sure know how to do it in style . . . even if they, once again, throw a little passive-agressive missive at Cleveland, Ohio by not hosting in the city they deem worthy to house their hall. It took a while for White Denim’s follow-up to Exposion to make its way to the States, initially being released overseas where the Austin, Texas trio has become quite the sensation. With Fits, they move in new and different directions while remaining true to their overriding mantra of distilling rock music down to its high-octane essence. Flying through songs at a breakneck pace that would impress Usain Bolt, “I Start To Run” percolates on Steve Terebecki’s bass and Joshua Block’s drums needing only shotgun blasts from James Petralli’s guitar and “Mirrored And Reverse” has a steamy undercurrent of garage psychedelia. This is a band that has a ton to offer in 2010.3. Phish Ends Their Hiatus  It wasn’t done with the simplicity of Michael Jordan’s proclamation of “I’m back” but it pretty much had the same effect. By announcing three shows at Virginia’s Hampton Coliseum in March of this year, the venerable jamband titans sent their fanbase, who had been awaiting confirmation of the rumored shows with unprecedented anticipation, into a joyous hysteria that ultimately resulted in the evisceration of Live Nation’s credibility as a major ticket vendor once ducats went on sale. Phish also released Joy, their first studio album in more than five years, but the simple fact that Phish was back, which overshadowed the return of The Dead, trumped everything else they would do in 2009. 2. Animal Collective: Merriweather Post Pavilion  On Merriweather Post Pavilion, one of the more anticipated releases of 2009, Animal Collective, toned down their wild inclination for experimentation and avant-garde screamfests in favor of an inviting swirl of sound that Panda Bear explored on Person Pitch. Rather than antagonize their listeners, Aminal Collective decided to bring them into their wild world, which turned out to be oddly domestic, albeit in a psychedelically day-glo fashion. In cultivating their electronic pulses and hypnotically repetitive rhythms in their most pleasing manner yet, Merriweather Post Pavilion remains challenging without the Collective having to greatly compromise their slightly lunatic bent. Like it or not, this is one of the more important albums of the decade, its influence will undoubtedly reach well into the next. Hipsters of the future: if you're not listening to this now, learn enough about it; in 2015, you will have to credibly pull off the patronizing declaration that you've been listening to Merriweather Post Pavilion for years. The Decemberists created a rock opera in every sense of the word. A fractured fairy tale that combines the fantasy of a Narnia Chronicle with the fatalism of a Shakespearian tragedy, The Hazards Of Love tells the tale of a swan named Margaret and her star-crossed lover, a shape shifting faun of adopted royal heritage. Exquisitely crafted, the story packs an understated emotional punch, engendering sympathy for its main characters over the course of a one hour album. On the four versions of "The Hazards Of Love," Meloy builds on the thematic and musical structure of the song much as symphonic masters have done for centuries. My Brightest Diamond's Shana Worden gives voice to the evil Queen and Lavender Diamond's Becky Stark brings the avian heroine to life, adding to the theatrical quality by relieving Meloy of the onus of voicing every character. Prog-rock indulgences and bizarre story lines aside, Meloy and The Decemberists have put together a momentous album.Disappointments: These events just didn’t live up to expectations. Enjoyable though they may be, we desired more. Arctic Monkeys: Humbug Ben Harper & The Relentless 7: White Lies For Dark Times Kanye West At The MTV Awards Bruce Springsteen: Working On A Dream The Felice Brothers: Yonder Is The Clock Green Day: 21st Century Breakdown Monsters Of Folk: Monsters Of Folk Wilco: Wilco (The Album) Lou Reed: The Metal Machine Trio The reaction to Michael Jackson’s death The Best Of Earvolution: In case you missed it the first time. Living Colour Returns Woodstock: 40 Years On Gov’t Mule: Rockin’ It Fine At The Hammerstein (a review in verse) Michael Jackson: What Are We Mourning? Labels: Andrew Bird, Animal Collective, Dirty Projectors, Fever Ray, Leroy Justice, Phish, The Black Crowes, The Decemberists, White Denim Thursday, September 24, 2009Thursday's Earful: The Black Crowes Before The Frost . . . Until The Freeze
By: David Schultz
 Playing before a live audience is where The Black Crowes have always been at home. It’s that intangible part of their aura that makes their recently released Before The Frost . . . Until The Freeze sound like nothing they’ve ever released. Culled from five days of performances at Levon Helm’s studio in Woodstock, New York, the same locale for the beloved drummer’s Midnight Rambles, the Crowes recorded enough material for two albums. Rather than have the added tracks go the way of The Band, their lost album that exists primarily in bootleg form, the Crowes haven’t made it all that hard for anyone purchasing Before The Frost to get Until The Freeze for free.Anyone who’s been to one Crowes show always returns for more; unless you have an aversion to free-spirited events where songs often follow their own muse, the Crowes deliver. On Before The Frost, the Crowes second album with North Mississippi Allstar Luther Dickinson in the fold, they come the closest to capturing their live sound. On songs like “Been A Long Time (Waiting On Love),” “Make Glad” and “A Train Still Makes A Lonely Sound,” the Crowes let the music subsume them, letting Dickinson’s slide guitar add a surfeit of gritty and sultry nuances. Their raw sound has always drawn favorable comparisons to Rod Stewart & The Small Faces and, for the most part, Before The Frost sounds like your typical Crowes album, albeit one where they are on fire. While emulating early Rod Stewart has its pros and cons, drawing inspiration from his Blondes Have More Fun disco phase is a head scratcher. Dickinson’s anachronistic guitar work notwithstanding, “I Ain’t Hidin,” conjures up the coke-addled disco era with an unironic descent into “Do Ya Think I’m Sexy” territory. It’s either the bravest song the Crowes have recorded or their most insipid. The bonus album is the true revelation. Featuring heavy contributions from Larry Campbell on fiddle and mandolin, Until The Freeze finds the Crowes in a state that would make the most relaxed yogi seem tense. As if sitting around a campfire in the wee hours of the morning under a cloudy, smoky haze, the music spills forth in a rustic mélange. You can forgive the repetition of the communal “song we all can sing along” theme of “Aimless Peacock” in “Shady Grove,” and get past the fact that “Lady Of Avenue A” is more of a wander-the-city-streets-at-3:00 a.m.song because they are hypnotically enveloping and it’s the most exciting the Crowes have felt since Shake Your Money Maker. If the spirit of The Band still lives in Levon’s barn, the Crowes have channeled it here. Labels: The Black Crowes Monday, November 03, 2008Higher & Taller: The Black Crowes Return To The Hammerstein Ballroom
By: David Schultz
 Right about the midway point of their first of three shows at New York City’s Hammerstein Ballroom, The Black Crowes became a full fledged jamband. With lead singer Chris Robinson pitching in on guitar, his brother Rich Robinson and Luther Dickinson ambled down “Shakedown Street” with a Grateful Dead influenced jam, moved full steam into a lengthy section based around “Bo Diddley” and toyed with some “Third Stone From The Sun” cascades before easing into “Thorn In My Pride.” In total, the Crowes’ fanciful flight lasted for nearly half an hour and their glorious execution of the various segueways tipped their hand that we weren’t dealing with any rookies here. Never ones to shy from extending a song to its limit, Monday night’s session crossed the line that separates bands who like to add a little relish to a song from those who take it wherever it may lead. It may have irked those who prefer a more song-oriented setlist but for those who found great joy in the extended odysseys of the Grateful Dead, this version of The Black Crowes was simply nirvana.While the Crowes didn’t exactly repeat the feat the next night, they did demonstrate a serious bent towards pushing the boundaries of their songs. On Monday, “Thorn In My Pride” veered askew before triumphantly returning home and on Tuesday night, “My Morning Song” similarly digressed. Dickinson, the newest Crowe by way of the North Mississippi Allstars, sits at the center of the Crowes free-form resurgence, resuming the same easy interplay with Rich Robinson that they had while playing together in Circle Sound. Well past the feeling out process, Dickinson handled the majority of the guitar leads, adding his own take to Crowe standards like “Sister Luck” and “Twice As Hard.” Dickinson lights a feisty fire under the Robinson brothers and is pushing the Crowes to playing their most vital rock and roll in years. Owing in part to the release of Warpaint, their first new studio album in seven years, the Crowes are reinvigorated. In line with Lions and Three Snakes And A Charm, Warpaint’s bongwater soaked rock and roll takes on new life when the Crowes play them live. For Tuesday night’s show, they emerged to Adam McDougall’s sustained “Rain Song” keyboard riff to “Movin’ On Down The Line” with Robinson softly crooning that “it’s alright sisters, it’s alright, brothers.” Rather than sounding like a throwaway intro to a song, it served as a benediction, welcoming the assembly to the rebirth of a band that’s stayed true to their beliefs and followed their own muse, even when it removed them from the mainstream. Over the first two nights, “Walk Believer Walk” moved with a mighty stomping beat as did “God’s Got It,” for which Steve Gorman came to the front of the stage with don a gigantic marching band bass drum. “Locust Street” and “Wounded Bird,” a song with which they seem particularly enamored, had that smoldering fervor that fueled the Crowes early work and “Goodbye Daughters Of The Revolution” and “Oh, Josephine” simply rocked. Dancing like a hairier and more agile version of Mick Jagger, Chris Robinson exudes the aura of the old school rock and roll singers. While it didn’t show on the quick runs through older material like their cover of Otis Redding’s “Hard To Handle,” Robinson is hardly bored with the Crowes’ standards. On warhorses like “No Speak No Slave,” “Sometimes Salvation” and “Jealous Again,” Robinson commits himself and delivers with the same conviction as he did nearly two decades ago. Even after all this time, those songs still resonate with meaning and when he’s feeling the spirit, Robinson invokes the gospel like no other singer. Chris Robinson’s memory notwithstanding, the Crowes historic run of shows at the Hammerstein in 2005 was memorable as most people never expected to see the Crowes reunite. After three years on the road playing for their ever-loyal fans, the Crowes returning to the Hammerstein for another memorable run as as one of the world’s most vital and essential rock and roll bands was equally unexpected. Labels: Live Reviews, The Black Crowes Monday, April 14, 2008Earvolution's CD Reviews: The Catch-Up Edition
By: David Schultz
Just because Earvolution hasn't gotten around to writing about some of this year's notable releases doesn't mean we haven't been listening.  The Black Crowes: Warpaint A fine comeback for the Robinson brothers, nonetheless Warpaint fails to recapture the genius of the Crowes’ early days. Longtime fans won't be disappointed and would be hard-pressed to dispute the contention that the addition of Luther Dickinson is one of the best things to have happened to the Crowes in years. “Goodbye Daughters Of The Revolution,” “Wounded Bird” and “Oh Josephine” have that inimical Crowes swagger but the magic isn’t sustained for the entire album. Even though it’s better than 2 ½ stars, Maxim could have justified its rating had they actually listened to the album beforehand.  Lenny Kravitz: It Is Time For A Love RevolutionLenny’s “love revolution” seems to involve celibacy. Given how women get a little weak in the knees over Mr. Kravitz, this is slightly offensive to those of us who don’t have the benefit of his je ne se quois. Getting beyond the concept, Love Revolution is a return to the heartfelt hippie-rock that marked the best moments of Kravitz’ prior efforts. He unleashes his moody side on “I Love The Rain,” channels his inner guitar God on “Love, Love, Love” and “Bring It On” and “If You Want It” and “I Want To Go Home” are Kravitz at his inimitable best. This album, his first in four years, is his best effort in quite some time.  Donna Jean & The Tricksters: Donna Jean & The TrickstersEven though she’s in the Rock & Roll Hall Of Fame as a member of the Grateful Dead, it’s easy to forget that Donna Jean Godchaux-MacKay a member of the seminal jamband for most of the Seventies. After listening to Donna Jean & The Tricksters recent self-titled effort, any fading memories will quickly come flooding back. Deadheads who whine and moan about music going downhill since Jerry Garcia passed away will be rushing to take their bongs off the shelf after hearing Donna Jean & The Tricksters latest. “Travelin’ Light” could be a kissin’ cousin of “Tennessee Jed” and “Me And Kettle Joe” is an old-school, Dead-Style thirteen minute jam.  Drive-By Truckers: Brighter Than Creation’s DarkThe Truckers’ latest, the second of their post-Jason Isbell incarnation, is a prolific creative outburst that could have benefited from some prudent editing. Missing a unifying theme, the 19 tracks crackle with Patterson Hood and Mike Cooley’s acutely poignant insights even if the impact is diluted by the sheer volume. In tilling familiar thematic soil, Creation’s Dark is their most contemplative album to date. Even if the album fails to produce a defining anthem, “That Man I Shot” and “The Righteous Path” come close.  Big Head Todd & The Monsters: All The Love You NeedLong before Radio became the poster boys for the concept, Big Head Todd & The Monsters have been exploring the implications of giving away new music through the Internet. All The Love You Need, BHT’s first full-length, fully-free release, puts together definitive versions of many of the tracks they have floated out amongst their fans. It marks a fine return to form for Todd Park Mohr, whose brand of laid-back, Colorado-crunchy rock and roll, percolating with bluesy guitar riffs, never grows old. “Silvery Moon,” “Blue Sky” and “Fortune Teller” are open-air anthems in need of a festival and the horns Mohr breaks out on “Her Own Kinda Woman” are simply sublime.  Atlas Sound: Let The Blind Lead Those Who Can See But Cannot FeelDeerhunter’s Bradford James Cox offers an interesting change of pace on this solo effort, a collection of sparse, haunting tracks that offers more mood than riffs. The album unfolds at a leisurely, nearly psychedelic pace, drawing an assured strength from the slowly unfolding melodies. In line with Grizzly Bear’s calmly lilting style, Let The Blind Lead is an engaging effort that warrants repeated listens.  Jacob Fred Jazz Odyssey: Little Tae Rides AgainThe one constant about Brian Haas, Reed Mathis and the Jacob Fred Jazz Odyssey is their unflinching nerve and desire to do something different which each new album. For Little Tae, the JFJO logged in considerable studio time (at least by their standards) and the ambient rock and cerebral rhythms that resulted feel like they’ve been handled with care. With new drummer Josh Raymer manning the kit for the majority of the album, Jacob Fred experiments with an eclectic electric sound that may run counter to many people’s expectations of the band.  The Dodos: VisiterMore immediately accessible than Animal Collective, The Dodos’ Visiter is one of the more off-kilter releases in recent memory. The duo of Meric Long and Logan Kroeber aren’t lazy about their songcraft and the album floats deliberately on hypnotically seductive guitar riffs and intricate drum beats. A cerebral collection, The Dodos ethereal spin on the minimalist formula of guitars and drums bears a serious listen.  The Whigs: Mission ControlThe Whigs’ full-length debut is a raucous affair, full of in-your-face songs that waste little time getting to the point. Julian Doro’s precisely crisp drumming starts everything off right and “Right Hand On My Heart” pulses with energy thanks to a wonderful Parker Gispert guitar riff. In a perfect world, this would be the song that helps them crossover into the mainstream. Sounding like a younger, less patient version of Social Distortion, this Athens, Georgia based trio have produced one of 2008’s most exciting debut releases.  The Magnetic Fields: DistortionNothing like a little truth in labeling. Stephen Merritt ratchets up the fuzz on The Magnetic Fields’ eighth album, drenching lullabies like “To Drunk To Dream” in feedback or washing anti-California sentiment like “California Girls” in enough reverb to make it sound somewhat comforting. A modern day album with a completely throwback feel.  Bon Iver: For Emma, Forever AgoA re-release of the Wisconsin native’s much talked about debut, Jagjaguwar is making sure Bon Iver’s endearing For Emma, Forever Ago gets a proper audience. A soundtrack for the snowy, winter evening lurking within one’s soul, Justin Vernon doesn’t need anything more than his ethereal voice and an acoustic guitar to draw you in. The album evolves like a dream, “Flume,” “Skinny Love” and “For Emma” floating along peacefully on Iver’s calming melodies. It’s no mistake that NPR had Iver on the bill of their much vaunted SXSW showcase that had people lining up fruitlessly outside of The Parish. Labels: Atlas Sound, Big Head Todd and The Monsters, Bon Iver, Drive By Truckers, Jacob Fred Jazz Odyssey, Lenny Kravitz, The Black Crowes, The Dodos, The Magnetic Fields, The Whigs Friday, April 11, 2008Black Crowes Tour Dates The Black Crowes announced show and ticket sale dates for their "Euphoria or Bust Tour" that will see them sweep across North America all summer an into the fall. Although the tour, in support of their new record Warpaint, officially kicks off June 28th in New Hampshire, the band is also playing what should be a monster show with the Dave Matthews Band on June 27th in Hershey Pennsylvania. Among the more interesting dates will be a three night stand at the fairly intimate Philadelphi Fillmore a/ka/ The Theater of the Living Arts on South Street. Tickets go on sale on May 2nd and the venue should sell out very quickly. If you can get there do so as it will be a great place to see them play.Labels: Dave Matthews Band, The Black Crowes Tuesday, March 04, 2008Free Black Crowes Mp3 The Black Crowes new record Warpaint is out today and they are kind enough to share a free mp3 download of "Goodbye Daughters Of The Revolution." The new single entered the Mediabase Rock Chart at #10 this week and tonight is the big "one night only" show at Fillmore East in NYC where they will be joined by Luther Dickinson to perform the new album in its entirety.Daughters is classic Black Crowes and one that shows that despite all the line up changes the Robinsons and crew can still put out some good old fashioned rock and roll. Download it now here: Goodbye Daughters Of The Revolution Mp3 Labels: Mp3s, The Black Crowes Wednesday, December 26, 2007What Will Be Great In 2008By: David Schultz In the past month the Internet has been flooded with Best of 2007 lists. While some say more than others, the consensus seems to be that Radiohead’s In Rainbows and The National’s Boxer were the cream of the crop in 2007 and that the full repercussions of Radiohead’s pay-what-you-want pricing scheme have yet to be felt. Anyway, enough with 2007 already; I’m looking ahead to 2008 and here’s what I’m excited about.  The Hold Steady’s New AlbumListening to Boys And Girls In America made me feel young again. I’m not sure I could give an album a greater compliment. You can never have enough literate songs about the follies of youth, especially when they're delivered in Craig Finn’s wry, expressive voice. Word is they have returned to the studio and will deliver a new album late in 08.  The Winehouse/Fielder-Civil TrialWhen she wasn’t figuratively or literally saying no to rehab, Winehouse turned herself into one of the most Grammy nominated train wrecks of all time. Now that she’s been arrested and charged with perverting justice, the same crime for which her husband Blake Fielder-Civil is currently awaiting trial, we’re headed for a good-old fashioned media circus of a trial. Personally, I’m hoping she abandons the beehive in favor of Phil Spector’s freaky-fro and shows up in court wearing the pink bra and jeans combo.  Black Crowes: WarpaintRested and reinvigorated, the Robinson brothers brought guitarist Luther Dickinson into the studio and recorded their first album of new material in more than 7 years. With one of the more potent lineups in years, they’ll celebrate the March 4 release by playing the album on stage in its entirety.  The Led Zeppelin Reunion TourMaybe just like wishing Tinkerbell back to life, if we all clap our hands and wish real hard, it will happen.  Lenny Kravitz: It’s Time For A Love RevolutionIt really is time as it’s been about four years since Kravitz released his last album or embarked on a major U.S. tour. If thee first couple songs are any indication, Kravitz has returned to the hippie lyrics and fuzzed-out Hendrix guitars that made him a star. 2008 may also see the release of Funk, an album he’s been periodically working on since 1997.  New Year’s Eve at the HighLine with U-MeltIt’s a tradition. U-Melt will be ushering in 2008 with an electrifying show that will begin in the wee hours of the morning. There is no better way to start of a new year than with a few hours of U-Melt. If you wanted to engage in idle speculation: Jamie Shields and Darren Shearer (New Deal) and Marco Benevento and Joe Russo will be playing the HighLine earlier that evening – maybe they’ll stick around for the U-Melt festivities.  Drive-By Truckers: Brighter Than Creation’s DarkThe Truckers previewed some songs from their upcoming album on their The Dirt Beneath tour and don’t appear to be missing a step in the absence of guitarist Jason Isbell. In addition to Patterson Hood and Mike Cooley’s next edition of Southern drama, bassist Shonna Tucker will even sing.  Lynne Spears: Pop Culture Mom: A Real Story of Fame and Family in a Tabloid WorldIt’s comical enough that Britney’s mom wrote a book praising her own parenting skills when the rest of the world takes vicious delight in laughing at her daughter’s misadventures in parenting. If raising one selfish, neglectful mother wasn't enough, Ms. Spears just had her book release delayed because her 16-year-old daughter is pregnant. This is a best seller just waiting to happen.  North Mississippi Allstars: Hernando & Mississippi Folk Music Vol 12008 is poised to be Luther Dickinson’s breakout year: in addition to being a new Black Crowe, the NMA will release Hernando, a new studio album, as well as an online compilation of their interpretations of traditional Mississippi songs.  Licorice: A Million Grains Of SandOne of New York’s most proficient foursomes will release their debut EP later this winter and give everyone a taste of the delicious jams they’ve been putting together over the past few months. A sample serving can be found here. [Ed. Note: Earvolution's artist development and production side of the business has a few tricks up its sleeve for 2008 as well; new Pawnshop Roses coming soon and expect a major announcement involving the marrying of new media technology with one of the most revered brands in American music history.] Labels: Amy Winehouse, Britney Spears, Drive By Truckers, Led Zeppelin, Lenny Kravitz, Licorice, North Mississippi Allstars, The Black Crowes, The Hold Steady, U-Melt
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