Author: Mike Farley (Page 55 of 63)

Oy To the World

December 13, 2006 / Mike Farley

Paul Libman got tired of all the bland Christmas music released by pop stars each year, and decided instead to use his Jewish faith and all of the great Chicago musicians that were at his disposal through his music production company, recording an anti-Christmas album of sorts that is all klezmer music.
It’s called Oy To the World: A Klezmer Christmas and the band Libman has assembled is called, appropriately (or inappropriately, if you look at it that way), The Klezmonauts.

Once the novelty of the whole thing wears off, and whether or not you have any religious affiliation whatsoever, you’re left with an album that intends to be funny. And while it is definitely a bit humorous, you can’t help but marvel at the originality and the stellar musicianship. Most of the tracks (including “Joy To the World” and “Away in a Manger”) are instrumental, but there are vocals on Libman’s own hilarious “Santa Gey Gezunderheit” and on a Yiddish version of “Jingle Bells.”

All in all, Oy To the World is going to make a great Chanukah gift this season, but Libman my wind up being surprised at how much those celebrating Christmas will enjoy it too.

CD Reviews

Notes From The Orphanage VI

November 21, 2006 / Mike Farley

It’s Thanksgiving week, and a good time to do a good deed and bring in an orphan. In our case, that means reaching into the bin and showing love to some CDs that have been collecting dust for too long. Read at your own risk.

The Blood Brothers: Young Machetes (V2)
The first track is called “Set Fire To the Face On Fire,” and the lyrics start out “Fi-Ah,” Fi-Ah, Fi-Ah.”—how Beavis and Butthead of The Blood Brothers. But it gets better, depending on where you stand on the whole scream vs. sing thing. The Blood Brothers are a cross between Jane’s Addiction, The Cure, Led Zeppelin, and every screaming death-metal band you’ve ever heard. All of that makes them unique and interesting, though at times lead singer Jordan Blilie’s voice is like 100 nails on 100 chalkboards.

Riley Baugus: Long Steel Rail (Sugar Hill)
Yeeeeeeeee-haaaawwwww! If you take that toothpick out of your mouth long enough to sing along to this twang-fest, you are in for a wild ride on the Riley train. Hence the title of the record, which really does make you feel like you’re on a train barreling across the U.S. of A. It’s Americana at its finest, not only because of the songwriting, but because of Baugus’ spectacular fiddle and banjo play.

Meg & Dia: Something Real (Doghouse)
This is chick-fronted power pop with some really slick guitar work and even better songwriting. And now for the other shoe to drop. Lead vocalist Dia sings in that baby talk, fingers in mouth vocal style made famous by Vanessa Carlton, and it’s never sounded more tired. The thing is, though, you can tell she’s got the talent; she just needs to mature and use her voice more effectively for this duo to have success.

Ella Rouge: self-titled (Moby Dick)
ABBA front man Benny Andersson has son. Son grows up to play in band so as to follow in dad’s footsteps. Son has lots of dad’s musical ability. However, son listens to a bit too much Creed while growing up, therefore sabotaging the debut album for his band, Ella Rouge. It doesn’t suck, but at times is the musical equivalent of a tug of war between David Cassidy and Scott Stapp.

The Nice Boys: self-titled (Birdman)
They call this type of music glam rock, or, as their bio states, “straight-ahead-stadium-glam-rock.” More accurately, this is guitar-driven rock with very little attention to melody and songwriting. The opening track, “Teenage Nights,” is catchy enough but the rest of the ten tracks will have you asleep and snoring in about two minutes. This is one of those bands that critics love for no reason whatsoever, but this critic knows better.

Taylor Swift: self-titled (Big Machine)
Here we go again, another cute teenage girl that’s handed a guitar at an early age and learns how to sing and write songs. But this country artist has a future because somewhere in that teenage body is a pretty strong voice, and her songs are Nashville-ready. The downside is that she too has listened to too much Vanessa Carlton and Michelle Branch (see Meg & Dia review above), but the upside is that she’s already a better singer than “singer of the year” Carrie Underwood. Did you hear that, Faith Hill?

Tiga: Sexor (Turbo Recordings)
With songs like “Welcome To Planet Sexor” and “The Ballad of Sexor,” you can’t possibly take this electronic album seriously. And you’d better not, because that comic relief is the only redeeming quality. It’s like a five-year-old made up lyrics and put them to some cheesy beats on his Casio. Yes, I said Casio, and I don’t care if that dates me. Now get me off of this spaceship on planet Sexor and fly me back to Earth.

Paula DeAnda: self-titled (Arista)
Okay, this is getting ridiculous. Here is another sixteen-year-old artist with a major label release and better than average voice. But the difference between everyone else and this J-Lo-esque teen is that she has the likes of Clive Davis, Ne-Yo, Timbaland and Diane Warren on her team. That’s like me batting in a lineup with Albert Pujols, Derek Jeter and David Ortiz—no matter how many automatic outs I cost my team, we’re still going to win. Same with young Paula and her R&B/pop debut, which is like liquid sugar pouring out of your radio.

Alternative, CD Reviews, Electronica, Pop, Rock

Mix Disc Monday: Rainy Day Songs

November 7, 2006 / Mike Farley

You know how some songs were just meant for rainy days? I started this list and it had a few songs with ”rain” in the title, but I thought that was kind of cheating. Leaving that out made things more interesting. This is a good mix to sit on your front porch (under cover, of course) and watch the rain as you listen to some cool tunes.

“Jane,” Ben Folds Five (The Unauthorized Biography of Reinhold Messner)
Ben has a lot of songs that could have wound up on this list, but “Jane” earns that distinction with its minor key and somewhat somber mood.

“So at Last,” Butch Walker (Letters)
Butch is singing about Southern California in this song, but there is no denying the rainy day feel of it. I’d be really surprised if Butch wasn’t in Minneapolis on a crappy day when he wrote it.

“Let It Die,” Feist (Let It Die)
The aching beauty of this song can practically inflict wounds on the human body. This is Leslie Feist at her best.

“Cold Again,” Freedy Johnston (This Perfect World)
You can almost feel the chilly air as Mr. Johnston sings about walking over the Brooklyn Bridge. You can also probably taste the half-burnt, half-frozen pretzel from a New York City street vendor.

“Flair,” Josh Rouse (Dressed Up Like Nebraska)
This album is full of up-tempo jangly acoustic rock songs. But this one is dark and somber and awesome all at the same time.

“After Tomorrow,” LUCE (LUCE)
This track is more optimistic than sad lyrically, but the overall vibe is perfect for gray skies.

“Jen Is Bringin’ the Drugs,” Margot and the Nuclear So and So’s (The Dust of Retreat)
Here is how the lyrics start: “Jen is bringin’ the drugs / She wants to get real fucked up.” I mean, it’s not a bad idea on a rainy day.

“Don’t Believe,” Marjorie Fair (Self Help Serenade)
Most of the debut album from this band has that dreamy, underwater feel to it. And it’s bordering on brilliant.

“Suburbia,” Matthew Good (Beautiful Midnight)
One of the best under-the-radar albums of the last 10 years, Matthew Good must have written this entire album when he was in a real funk. And, you know, that always makes for the best music.

“You Just Forgot,” Mindy Smith (Long Island Shores)
This one was released maybe a month ago. Being fresh in my mind may have helped the song land here, but I think maybe it will still be a great rainy day track 10 years from now. What a voice on this chick.

“You Are Mine,” Mute Math (Mute Math)
A stunning song from a stunning debut. This is movie soundtrack material.

“Things behind the Sun,” Nick Drake (Pink Moon)
Quite honestly, you could put this song on the list 15 times and forget about the other 14. But that would be way less fun.

“Salesman at the Day of the Parade,” Rogue Wave (Descended Like Vultures)
Does Sub Pop sign any acts that don’t make rainy day songs? Not really.

“God of Wine,” Third Eye Blind (Third Eye Blind)
The last four tracks on the band’s debut album are so depressing yet somehow so compelling. Pass me the bottle.

“Windmills,” Toad the Wet Sprocket (Dulcinea)
This track will make you remember why you fell in love with Toad in the first place. Glen Phillips is my freaking hero, and this incredible song is one of his best.

Alternative, Mix Disc Monday, Rock, Songs

Notes From the Orphanage Part 3

October 31, 2006 / Mike Farley

When my editor told me he started this bit, I was the happiest person of all. Not only because all CDs come through me first before they are assigned and the pile is as high as a New York skyscraper. But because that means more artists get some kind of coverage. So here’s to you, Mr. Pulling Orphans Off the Pile Man…..

NOTES FROM THE ORPHANAGE

Avi Granite: 5 (Pet Mantis Records)
Old school jazz with dirty horns and distored guitars. I’m going to go out on a limb here and say this is thinking man’s jazz. Or even better, jazz for the stoner in you. But no matter what you call it, guitarist Avi Granite and his band are incredibly talented musicians.

Sam I Am: Whatever’s Got You Down (Hopeless)
A pretty good rock band with pop and punk flavors, but the lead singer sounds like (and I can’t think of any other way to say this) Fred Flintstone. It’s like I keep waiting for him to shout “WIL-MA” in the middle of each song. Seriously, singer Jason Beebout is just too distracting to keep this thing in your CD player for very long.

Dirty on Purpose: Hallelujah Sirens (North Street)
This is the kind of guitar-driven alt-pop that is perfect for kids who want to chill out in college dorms or for radio stations anywhere below 90 on the dial. Some of it is downright depressing, but in a good way. Did I just contradict myself? I think I did. Well, check this album out and see if you disagree.

Mushroomhead: Savior Sorrow (Filthyhands/Megaforce)
This is the kind of stuff that Beavis and Butthead would raise index finger and pinky to. And while it rocks and screams like you would expect from this Cleveland metal band, the songwriting on the album is pretty damn good, too—particularly on “Simple Survival” and “Save Us.”

The Beautiful Girls: Water (Cornerstone RAS)
This is not a band of hot chicks, as you might expect, but rather it’s four dudes who make music that sounds like Jack Johnson mixed with a bit of G. Love & Special Sauce. It’s good stuff too, especially the title track; and lead singer/songwriter Mat McHugh has a compelling voice. Now, someone please pass me the marijuana.

Cute is What We Aim For: The Same Old Blood Rush With a New Touch (Fueled By Ramen)
A pretty good band with some pretty catchy songs if you like the sort of pop/punk in which the lead singer puts a clothes pin on his nose while singing. This is MTV bordering on VH-1. But for the love of God can we please stop with the long band names and long album titles? I mean, does anyone think this is a good band name? Why not call yourselves Sally Looked at Me in English Class and I Think I Got A Two By Four In My Pants?

Kristy Frank: Freedom (Ruffnation)
This is teen pop but with a rock edge, ala Michelle Branch. And what are they putting in the kids’ milk these days? Kristy, a California native who is part Swedish, is only FIFTEEN. And this album is surprisingly catchy and well produced. I smell an MTV darling.

Alternative, CD Reviews, Indie Labels, Pop, Rock

American Idol: It’s a Gray Day in L.A.

May 25, 2006 / Mike Farley

Last night, America made a statement. Our country crowned Taylor Hicks, a 29-year-old gray-haired dude from Birmingham, the fifth “American Idol.” America chose charisma over beauty, and rightfully chose a guy who deserved to win. While many of us are annoyed by the hideous “Soul Patrol” refrain, we still couldn’t help but be entertained by Mr. Hicks, and it’s going to be interesting to see his career develop. But the best part about Hicks winning is this: here is a guy that would never be able to get a record deal the conventional way. Record execs are cruel and stupid that way. They would take one look at his gray hair and wave him off before even listening to his soulful, unique voice. Hell, even Simon Cowell did that during the auditions, and it’s a good thing Randy and Paula sent him through to Hollywood back in January.

But last night’s result was perhaps overshadowed by a star-studded finale that included performances by Meat Loaf, Mary J. Blige and Prince. Since this is the final recap of the season, let’s go to the videotape, shall we?

The show opened with the current Idol, Carrie Underwood, performing Barry Manilow’s “Made It Through the Rain” along with Katharine and Taylor. They then flashed to Birmingham, where the O’Donohue twins (remember them from the auditions?) were hosting a big gathering in support of Taylor…..and down the street in Los Angeles, where former Idol contestant Tamira Gray was leading the Katharine fans.

Then Paris Bennett came out and performed “We’re In This Love Together” along with Al Jarreau, and Chris Daughtry then got to sing with his favorite band, Live. Both were super cool performances and fun to watch.

Then they broke to the first comedy segment, “Puck and Pickler,” where Wolfgang Puck schooled Kellie Pickler on the finer points of fine dining. Kellie was practically forced to try eating escargots, and spit it out ala Jerry Seinfeld spitting out the mutton that Elaine’s cousin Holly cooked. It was clever and a good use of Pickler’s talents…there is definitely a future in “Hee Haw” type comedy for her.

After that, the first big star of the night was introduced, as Meat Loaf came out to sing Celine Dion’s “All Coming Back to Me Now” with Katharine McPhee. The fact that it was a Celine song was disturbing enough, but not nearly as disturbing as the way Mr. Loaf was shaking when he started to sing. I know I didn’t order a big vanilla shake with my meat loaf last night.

Considering that the producers had to fill two grueling hours before announcing the winner, they then began the “Golden Idol” awards, where Ryan Seacrest outlined some of the worst performances from the audition phase of the past season. The first award was given to the craziest guy, and that was Dave Hoover…remember him? He was like an escaped mental patient. Anyway, Hoover was actually on hand to accept his award and promptly did a stage dive.

Then the guys (the final six male contestants) did a medley of songs like “Takin’ Care of Business” and “Don’t Stop Believin'”, after which Taylor and Katharine were both presented with brand new Mustang convertibles for being the two finalists. Damn!

The next Golden Idol award was for Proudest Family Moment, which went to Elliott Yamin’s mom. Then Elliott got to perform U2’s “One” along with Mary J. Blige. Blige is releasing the song on her new album, which goes to show that most things on “American Idol” last night were about exploitation.
That you know Bono would think himself far too cool to appear on the show.

Carrie Underwood sang her single, “Remember Me,” which was okay…but can someone tell me where the hell Bo Bice was? Then Taylor Hicks sang Elvis’ “In The Ghetto,” a song that probably helped him earn a ton of votes a few weeks back. But as he was singing, out came Toni Braxton to help him out…she looked amazing, but was singing in a kind of half-singing style…..if any of you saw it, you know what I mean….it was hard to describe and really strange. But who cares when she looks like that? Then Katharine and all the girls sang a medley of woman songs like “I Feel Like a Woman” and “Natural Woman.”

Then came one of the finest moments of the show this season. The Golden Idol award for the best impersonation went to this dude named Michael Sandecki, who during the auditions kind of thought he was Clay Aiken. Michael was on hand to accept the award (kudos to the producers of the show for recruiting all these crazy kids to return for the finale) and then Ryan asked him to perform Elton John’s “Don’t Let the Sun Go Down on Me,” a song that Aiken performed on Season 2 en route to a runner-up finish. Michael started singing, and then the crowd went nuts as Aiken himself appeared on the stage. But the best part was that Michael was the last one to see him…..and when he did, Seacrest had to contain him to make sure he didn’t pass out before finishing the song with his idol.
You know, I think we’re going to look back on this as maybe one of the single greatest moments on television.

Then Burt Bacharach sat down at the piano and the top 12 contestants sang a medley of his songs. It’s pretty incredible how many hits that dude has churned out during his career. But of course, the producers had to fuck with poor Kevin Covais, by making him sing “What’s New Pussycat”…..those of you who have followed the show know that Kevin has sort of a lisp…..so I don’t need to tell you how that song turned out. Then Dionne Warwick came out for another medley, and even though she is aging, it was another pretty cool moment.

After that came the Golden Idol award for “Best Male Bonding,” which was given to the trio from the auditions that the show labeled as “Brokenote Mountain,” featuring that 16 year old kid from Wyoming who sings to his turkey. This was accented by the fact that they let these guys come out and perform live. Pretty funny shit.

Then after saying that the guest appearances were done, Ryan Seacrest was deemed a liar as Prince made an appearance and performed a couple of songs. Mrs. Marley questioned the significance of this, but really, Prince is a true American Idol.

After Katharine and Taylor performed “Time of My Life,” the results were made known. You could look at Katharine and just know that she knew what was coming. Hicks hooted, hollered and “soul patrolled” and then sang his horrible new single, “Do I Make You Proud?”

So that’s it.

It’s been a fun ride with all of you chronicling Season 5 of “American Idol” and look forward to doing it again. Till then,

Spike Marley is OUT.

American Idol, Pop, Rock