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Saturday, December 29, 2007

Song of the Week: Anything


"Anything"
D-Side
from the album "Stronger Together" (Avex/Japan, 2004)

D-Side, a moderately successful boyband from Ireland, were originally a five-member group when they released their debut album in 2004. Sporting a bit of an R&B flavor, and armed with a mix of upbeat tracks and ballads (the great dance-pop single "Pushin' Me Out", the scrumptious ballad "Can We Dance"), the album and its five singles performed well, particularly in Japan and Southeast Asia. Up for download today is a B-side from their "Real World" single, which is also a bonus track on the Japanese edition of the album. I love the crunchy guitar-infused sound of this track ... I think I can safely say that this is one of my top five favorite boyband songs of all time.

Unfortunately, when two members left the group in 2005, D-Side shifted its sound into a far more ballad-heavy repertoire for its subsequent albums -- more so than Westlife and perhaps even 98°. I disappointedly resold their sophomore album on eBay just a few weeks after acquiring it, and lost interest in the group after that. It's too bad, really ... although the one album of theirs that I like is filled to the brim with good music, so I can hardly complain.

Wednesday, December 26, 2007

CDs of the Week: Human Nature

The "CD of the Week" feature will be taking a rest for a month. No, don't worry, I won't be going anywhere. But there's a month-long special feature in store for January, which you'll find out about when it gets here. So, for its last appearance this year before it disappears for a month, here's a trio of albums for you to seriously consider picking up....


HUMAN NATURE
"REACH OUT:
THE MOTOWN RECORD"
(Columbia/Australia, 2005)




HUMAN NATURE
"DANCING IN THE STREET:
THE SONGS OF MOTOWN II"
(Columbia/Australia, 2006)




HUMAN NATURE
"GET READY"*
(Columbia/Australia, 2007)



Human Nature is a pop vocal group (yes, a "boyband") whose recording career started ten years ago and has amassed a respectable amount of album sales and a number of charting singles in their native Australia. But a few years ago, upon the release of their fourth album (preceded by a greatest hits collection), they were experiencing a significant drop in popularity, due perhaps in part to the waning popularity of the boyband phenomenon, and maybe also to their aging fan base. For their next album, they made a risky but ultimately wise decision: to release an album of Motown covers. As was proven by the fact that "Reach Out: The Motown Record" garnered Human Nature its best-selling album to date (it went six times platinum in Australia), Motown is a sub-genre of music that will always have a big audience and will never go out of style.

Michael Tierney, Andrew Tierney, Toby Allen and Phil Burton acquit themselves admirably with their renditions of many popular Motown hits, including "Baby I Need Your Loving", "I Heard It Through The Grapevine", "My Girl", "Signed, Sealed, Delivered, I'm Yours", and even on the tunes performed more famously by female singers, such as "Stop! In The Name Of Love", "Please Mr. Postman", and "(Love Is Like a) Heatwave". Closing out each album is a beautiful a cappella performance of a different Motown classic, showing off the gents' gift for vocal harmony. Considering they started out as a doo-wop group before scoring a record contract, it should be no surprise that Motown is a natural fit for them.

With their third Motown album, "Get Ready", Human Nature saved the best for last, and recruited a handful of original Motown legends to lend guest vocals to several tracks: Smokey Robinson is still in top form on "Tears Of a Clown" and the title track; The Supremes' Mary Wilson shines on "River Deep, Mountain High" and "It Takes Two"; and Martha Reeves and The Temptations also make memorable appearances on new Human Nature renditions of their original hits.

I personally enjoy Motown songs no matter who's singing them, so I could easily go in for a fourth Motown album, but the lads may be wise in limiting themselves to three. After all, one can only take a trend so far without eventually appearing to ride the coattails of other people's success. As much as I'd love to hear Human Nature sing some of the Motown gems they didn't get to ("I Second That Emotion" being the one that most immediately comes to mind), making it a trilogy feels like a perfectly natural stopping point. I must sheepishly admit that I had, at one time, Human Nature's best-of collection, but ended up trading it in since I was unimpressed. Needless to say, that was before their Motown trilogy ... so now that I'm officially a Human Nature fan, I'm gonna have to go look for it again.

*Yes, on Amazon and other U.S.-based online stores, the title is shown as "Ain't Nothing Like The Real Thing", but it's really called "Get Ready". Trust me, it's the same album.

Sunday, December 23, 2007

Thnairg's Podcast: Best of 2007 Countdown!

You thought you'd never see it (or "hear it", as the case may be) again, didn't you? Well, never fear ... Thnairg's Podcast is back!! And, to thank you all for waiting patiently and not complaining about its absence over the last seven weeks, I'm making it an extra-special treat for you! First of all, you're getting not just one, but TWO episodes at the same time! Also, they're both a bit longer than the podcasts you've heard thusfar (by about five minutes) ... and that's because I'm playing full songs for you instead of just snippets!! But don't get too excited about that last part, 'cause that's just for this special occasion. And what's the special occasion, you ask? It's my countown of my Top Ten Favorite albums of 2007!!

Thnairg's Best of 2007 Podcast Part 1 -- This episode reveals my #10 to #6 favorite CDs of the past year, with my own occasionally witty and arguably lively banter throughout.

Thnairg's Best of 2007 Podcast Part 2 -- In this episode I count down my Top Five favorite CDs of 2007 ... betcha can't tell what they all are! Go ahead ... give it your best guess.

On a technical note, you'll notice yet another gradual improvement in the sound of my voice, as I tweaked the equalization to boost the midrange, so that it doesn't sound so "muddy" on the bass side (as I noticed it was in my last podcast). I've made a note of this tactic so I'll remember to use it in the future. And from now on, I plan on my podcast being a once-a-month feature, unless the mood strikes me to post one more frequently. Besides, as hard as it might be for you to believe, it was a bit difficult to try and pick seven albums to feature every two weeks! This way, I'll be much more likely to keep it on schedule for you.

I plan on posting a written list of this countdown around New Year's Eve, for those of you who don't have the patience or technological capability to download and sit through two 24-minute/11-megabyte audio programs of the countdown. But for now, enjoy this double-feature podcast ... and here's to 2008 being just as good a year for music as 2007 was!!

Saturday, December 22, 2007

A World Without Tower: One Year Later


Today is the anniversary of an event that few people may recognize because, as momentous as it should have been, it went by rather quietly. One year ago today, the last remaining Tower Records stores in the United States closed their doors forever. Sure, the announcement of the buyout and subsequent liquidation of the once-mighty music retailer made plenty of waves when it first broke, but the closure of the chain's 89 locations in the U.S. ended up being somewhat anti-climactic; the few stores that still had something to sell by December 22, 2006, seemed to fade out of the urban landscape all too quietly. Perhaps it was too painful an event to bring a lot of attention to, so the final day of the stores' existence was deliberately ignored -- not out of callous indifference, but with bittersweet nostalgia.

There are plenty of people who hated Tower Records (accusing them of aggressive marketing strategies and overpriced merchandise), but there were just as many who loved the stores. As if you couldn't tell by now, I fall into the latter group. By the time I really got into music full-bore, I was living too far away from a Tower location to visit it with any regularity, but I have nothing but fond memories of all the Tower stores I visited ... in Southern California, where I grew up (Brea was the one we went to most often, I think); in Las Vegas (a 70-mile drive from the podunk town we lived in); and I got to make a precious three pilgrimages to the Portland, Oregon, store before it shut down (I've included an image of the receipt from my last visit ... kind-of pathetic that I've hung onto it for this long, let alone scanned it, eh?). Sadly, I was never able to visit the legendary Sunset Strip location in Los Angeles ... not the largest store, but the one with the most history. She looks pretty sad now, doesn't she? (I wonder what's there now ... probably something of great cultural significance, like a "Bob's Discount Mattress Emporium".)

What really saddens me is not the mere fact that the Tower store chain is gone (although I will forever miss going there), but that it's just a symptom of the larger problem of disappearing music stores. I mean, sure, the convenience and simplicity of buying music on the Internet just can't be beat ... but there's really no comparison to being inside a shop, surrounded by racks and racks of CDs (or records, whichever your preference), leisurely browsing through the A-Z rock/pop section, having a mental list of what you're looking for but still having that subconscious desire to be distracted by whatever was playing through the speakers and being flipped through by your hands. More often than not, the chain stores (Virgin Megastores, FYE, Sam Goody, etc.) are staffed with barely-helpful, marginally-attentive clerks who have a minimal knowledge of music (outside the sub-genre or two in which their listening habits are confined during that particular month), so I personally can't be too surprised that they're disappearing, since the experience of shopping there is about as cold and impersonal as shopping online.

But the true jewels in the retail music world are the locally owned independent stores. Maybe they don't have the most impressive selection of titles in stock, but any reputable store is more than happy to special-order whatever you're looking for, usually at no extra charge. And maybe they don't mark their merchandise down below retail, or even have sales very often, but that's only because their nature as a small retailer makes them unable to afford to do so. But what makes up for it is the staff: friendly, knowledgeable people who are eager to help you find what you're looking for -- because they're there not just to earn a paycheck, but because they love music as much as we do. And let's not forget the used CD section! Not only do you never know what you're going to find tucked away in there, but used discs are cheaper and they give the store a higher profit-margin (which helps keep them in business and bring you more of the music you love), and if you do happen to take home a defective disc, most stores' returns policies are very accommodating.

So, do yourself a favor and look in the phone book or online, see if there are any independent record/CD stores near you, and try patronizing them once in awhile (or, better yet, more often). My guess is, the experience of doing so -- especially if you've never entered an independent store before -- will make up for any inconveniences in your buying experience.

Wednesday, December 19, 2007

CDs and Songs of the Week: Maybe This Christmas

In the interest of anticipating any possible time-crunch heading into this busiest of weekends, I thought I'd kill two birds with one stone (or "two partridges in one pear tree", as it were), and share with you three songs, and the albums they came from, all in one handy-dandy little post.

I don't really care much for Christmas music, quite honestly. But at the same time, being a music lover, I feel it's my duty to have at least some of the stuff in my collection, and I can't help but listen to it in the days leading up to the holiday. (I can't take much more than four or five days' exposure to yuletide tunes.) There's little denying the fact that Christmas just wouldn't feel complete without some Christmas music.

When I do buy a Christmas album, it almost always has to be something different -- something especially suited to my tastes. Sure, I have all three double-disc volumes of "Now! That's What I Call Christmas", which gives me a very well-rounded distillation of all the classic and contemporary holiday tunes anybody (especially I) could ever want. And I've bought the Christmas albums that some of my most favorite artists have recorded over the years (Hanson, Barenaked Ladies), as well as a small selection of other, more narrowly-focused compilations (novelty songs, '80s rock, etc.).

But this is perhaps the series of holiday albums that I enjoy the most. From 2002 to 2004, Nettwerk Records released a series of three compilations entitled "Maybe This Christmas". Each volume contains a wide variety of traditional carols, covers of 20th-Century holiday classics, and new original tunes, all recorded by current and recent indie-pop and rock artists, such as Phantom Planet, Coldplay, Vanessa Carlton, Barenaked Ladies, Ben Folds, Rufus Wainwright, Avril Lavigne, Death Cab For Cutie, The Polyphonic Spree, and many others. If ever there were a Christmas music compilation series that was right up my alley, this would be it.

Nearly all the tunes are enjoyable, with a few great standouts (Loreena McKennitt's hauntingly beautiful original "Snow", Guster's jaunty rendition of "Donde Esta Santa Claus?"), and the occasional exception (The Flaming Lips' take on "White Christmas", which they made so avant-garde that it just ended up sounding crappy, and Avril Lavigne's and Chantal Kreviazuk's okay but totally forgettable duet on "O Holy Night"). In the spirit of giving that is Christmas, I thought I'd share three selections with you this season, one from each album.

"Bizarre Christmas Incident"
by Ben Folds
from "Maybe This Christmas" (Nettwerk, 2002)





"The Winter Song"
by Eisley
from "Maybe This Christmas Too?" (Nettwerk, 2003)





"Bittersweet Eve"
by Belasana
from "Maybe This Christmas Tree" (Nettwerk, 2004)





You'll hear from me again before next Tuesday, but for now ... to everyone of every religious, ethnic, and cultural derivation, I wish you the happiest of holiday seasons. Spend it with someone you love, 'cause that's the most important thing.

Sunday, December 16, 2007

Song of the Week: Stand Up & Win


"Stand Up & Win"
Spymob
from the album "Sitting Around Keeping Score" (Ruthless, 2004)

Minnesota rock-pop band Spymob are most famous for their collaborations with The Neptunes, including an appearance on their "The Neptunes present Clones" album, and "In Search Of...", their first album under the N.E.R.D. name. I listened to sound clips from this album without knowing anything about Spymob's ties with The Neptunes, and it's probably a good thing, since that knowledge might have scared me away from buying it.

"Stand Up & Win" is a nicely upbeat track, and doesn't show any trace of the group's ties to the hip-hop genre ... not that it'd necessarily be a bad thing if it did. Bouncy, spirited pop-rock tunes just like this one abound on the album, with a couple of quieter ballads thrown in to shake up the monotony. Suffice to say, if you like this song, it'll be worth your while to pick up the album. I'm just wondering what happened to the group, and why they haven't put out another album. Maybe it was just too "nice" to be a mainstream hit ... that would figure.

Thursday, December 13, 2007

CD of the Week: Bop Boys!


VARIOUS ARTISTS
"BOP BOYS!"
(Priority, 1998)

I've had several people ask me, the first time I've given them one of my mix CDs, how I manage to find all the artists and songs from outside the U.S. that I invariably include on them. That got me to thinking about how and where my appetite for these off-the-beaten-path music treasures was first triggered. Well, through careful forensic analysis, I've identified the source -- the "flashpoint", if you will -- of my seemingly insatiable hunger for imported rock and pop music. This, folks, is the CD that started it all.

"Bop Boys!" was a compilation put out by Priority Records in 1998, in conjunction with teen magazine "Bop". It was a shrewdly executed release -- the boyband phenomenon had just washed ashore in America (NSYNC's first album had been released here just three months earlier, and the Backstreet Boys' U.S. debut less than a year before), giving them a jump on any potential competition, plus most of the tracks on it were from albums that weren't commercially available in the United States (and to this day never have been). Consequently, the compilation's track listing has far fewer well-known artists and serves as a unique sampler of worldwide teen pop from an American perspective.

The most recognizable artist on the compilation, the Backstreet Boys, kick off the proceedings with a rarely-heard acoustic version of one of their early hits. Then, from the United States (98 Degrees, Aaron Carter, Imajin), to the UK (911, Peter Andre, Boyzone), to France (Worlds Apart, G Squad), the listener has plenty of fun hopping around the boy-pop globe. But it would be two unsuspecting tracks, nestled side-by-side in the middle of the disc, that would dazzle my ears and forever affect my attitudes toward music. It was this album that introduced me to the silky-smooth soul-glazed vocals of Kavana, and the enchantingly sophisticated pop mastery of Espen Lind, for the very first time.

It could only be fate that this CD came along at the same time I was discovering eBay, and the wonderful ease with which it could be used to find obscure music from all corners of the world. Within weeks I had albums by both Kavana and Espen Lind, thoroughly loved them both, and was eagerly seeking out similar artists. I would occasionally even buy CDs from artists completely unknown to me, wondering what aural delights might be hiding under the cover art, and that undoubtedly expanded my appreciation for other kinds of music I might otherwise never have been motivated to try.

Sure, there have been plenty of duds along the way, but I shudder to think what my world would be like today without some of the truly outstanding albums I've added to my collection in the last decade. I fully suspect that a large percentage of them I found as either a direct or indirect result of my exposure to this compilation. I was a music fan before, but this CD was the key to unlocking a veritable floodgate of sounds that seemed unlike anything I had ever heard. Maybe this CD is nothing to some people, and maybe it didn't sell well when it first came out (prices on Amazon start at one cent), but it will always have a special sentimental value to me. Thank you, "Bop Boys!"

Saturday, December 8, 2007

Song of the Week: Stars Are Falling


"Stars Are Falling"
Adam Rickitt
from the single "I Breathe Again" (Polydor/UK, 1999)

Most famous for his role in the British television soap opera "Coronation Street", Adam Rickitt briefly forayed into a pop music career, recording only one album of what was supposed to have been a six-album contract. The disc, "Good Times", performed merely adequately on the UK charts (reaching #41), and only one of its three singles entered the Top Ten.

Like its three singles, most of the rest of the songs on the album are high-tempo dance-pop numbers, with a few requisite slow ballads thrown in. This song, a non-album B-side from the "I Breathe Again" single, is unusually dreamy and tranquil for an Adam Rickitt song. I've honestly never thought of his voice as any more than okay, but it sounds quite good in this track, floating on a cloud like the rest of the song.

On his official site, Adam Rickitt says he turned his back on his pop music career because it didn't make him happy, and that he found pop music "vacant and uncreative". Well, he can think what he wants of pop music, and we can appreciate the one and only album we got from him.

Wednesday, December 5, 2007

CD of the Week: Orson


ORSON
"CULTURE VULTURES"
(Mercury/UK, 2007)

I had heard of Orson last year sometime, when I downloaded one of their early singles from iTunes. I thought it was pretty good, and put their debut album, "Bright Idea", on my long-term wish list. That is, until I was browsing on Amazon UK about a month ago and saw that they had released their sophomore album. Out of curiosity, I listened to the first three tracks from "Culture Vultures" on their MySpace site, and I loved each and every one of them -- and that's when I ordered their new release and put their debut album at the top of my want list (and had both of their CDs in my possession less than three weeks later).

Orson is a band that manages to perfectly straddle the line between power-pop and indie-rock, seamlessly combining the tight harmonies and catchiness of the former (put on proud display in "Little Miss Lost And Found", probably the best track on the album) with the messy free-spiritedness of the latter (album closer "Everybody!", with the spoken-word-like delivery in the chorus). The anthemic first single, "Ain't No Party", is representative of the album and will be many people's favorite, but there are several tracks I love a lot more: "Radio" is a rocked-out lament on the current state of popular music; "Broken Watch" has a syncopated gallop that is practically irresistible; "Cool Cops" is first-class funk-rock; and "Northern Girl" gets the hips moving with a groovy bass line.

It seems rather silly that a rock band from California can get their albums released in the UK and other parts of the world, but not in their home country -- even after they've won a BRIT Award (for "International Breakthrough Act" in 2007). I don't know whether to blame the questionable logic of the American record industry, or the questionable taste of American music consumers ... but then those two groups probably directly affect each other. Whatever the reason Orson's CDs are only available as imports (although it is worth noting that Americans can obtain the "Bright Idea" album in digital form from the iTunes music store), I've found them to be well worth it.

Saturday, December 1, 2007

Song of the Week: Leave Me Be


"Leave Me Be"
Toploader
from the album "Magic Hotel" (Sony/UK, 2002)

Toploader were a British rock band who only put out two albums before splitting up in 2003. Their first album, "Onka's Big Moka", produced a few hit singles, but I actually like their follow-up (and less-popuar) album more, because it seemed to me to be more adventurous. The songs overall seem a bit more optimistic and upbeat, and the grand finale, "The Midas Touch", is a grandiose string-laden epic that, as one reviewer aptly described it, sounds like the theme song from a lost James Bond movie. (The "encore", as it were, is a cool cover of the classic '60s tune "Some Kind of Wonderful".)

Lead singer Joe Washbourne has a voice that might take some getting used to, but I've come to like his unique timbre and intonation. Add to that the catchiness of this tune, plus such embellishments as the classic Hammond organ sound and the handclaps in the chorus, and this song is just about impossible to resist! Too bad Toploader is no more ... I could have easily had one more album of their music.

Thursday, November 29, 2007

CD of the Week: Graham Colton


GRAHAM COLTON
"HERE RIGHT NOW"
(Universal Republic, 2007)

I first caught wind of The Graham Colton Band back in 2004, when I found out that Drew Nichols, formerly of the early '90s pop group PC Quest, was a member. On the strength of that fact alone (which gives you a clue of how low my resistance to buying CDs has been in the past), I decided to take a chance and buy their major-label debut, "Drive". I ended up enjoying their tuneful, hooky brand of Southern rock more than I expected to -- so much so that I was more than willing to pick up Graham Colton's new solo album when I spotted it on the horizon.

Mr. Colton has gone "solo" only inasmuch as he's dropped "The ... Band" from around his name; he's still backed by a full band, though it's not made up of the same members. He's also adjusted his sound from quasi-country-tinged prairie rock to more mainstream pop-rock. The album is a fine, even mix of ballads and upbeat rockers that just about anyone can enjoy. Lead single "Best Days" (a questionable choice, as it risks confusion with Matt White's album and song of the same name) is a sweeping, anthemic waltz; "Forget About You" is probably the most rocking track on the album, and an early favorite of mine (the lyric "I am useless, young and stupid, for thinking I'll get over you" has a meaning for me that I'll choose not to elaborate on at the moment, thank you); "Take You Back" another heartbreaker of a ballad; "Whatever Breaks My Heart" has a title that makes you expect to hear a ballad, but surprises you by being one of the most energetic and catchy tracks of all; and the steady pulse and dreamy echoing of "Let It Go" make it a perfect closing track.

He certainly didn't need them, but Graham Colton peppered this disc with guest artists: Rooney frontman Robert (Carmine) Schwartzman, power-popster Bleu McAuley, and singer Rachael Yamagata do backing vocal turns (hmmm ... another album featuring Rachael ... maybe that means I should check out her CD?), and Will Owsley plays guitar on one track. The album may not be completely perfect (a few of the lyrics here and there are not all that inventive), but all in all this is an enjoyable CD from a talented artist that I'll be keeping an eye on in the future.

Saturday, November 24, 2007

Song of the Week: Still Be Loving You


"Still Be Loving You"
Phoenix Stone
from the album "Phoneix Stone" (Universal, 2000)

There isn't a whole lot out there about Phoenix Stone that I could find ... just a small biography on allmusic.com that describes how he had been into singing and acting since his pre-teens, and that he briefly studied classical voice at the University of South Florida before he went into pop songwriting and singing and was discovered. I was under the impression that he had originally been signed as a member of the Backstreet Boys but left the group before they recorded their first album, but I couldn't find anything from any reliable sources that confirm it.

Anyway, Phoenix Stone recorded a self-titled solo album back in 2000 that was not bad at all. Take a listen to this upbeat tune, for example -- but be aware, most of the songs on the album are ballads. He's got a good voice, he wrote or co-wrote every song, and he even plays some instruments on several of the tracks (and you gotta admit, he is fairly easy on the eyes, too). It's not a spectacular album, to be honest, but it's good enough that I'd like to have seen him put out another one. I wonder what he's up to now...?

Wednesday, November 21, 2007

CD of the Week: Duran Duran


DURAN DURAN
"RED CARPET MASSACRE"
(Epic, 2007)

I'm going to venture a guess that most of my readers are significantly younger than I am, and don't yet know what it's like to experience the ecstatic thrill of witnessing an artist that they've been listening to for 25 years (since I was in middle school -- you can do the math) come out with one of the best albums of their entire career. Duran Duran have been ahead of their time from the beginning -- just pop in one of their early albums and you'll be amazed at how fresh it still sounds -- so when I heard that the guys were collaborating with Timbaland, Danja Hills, and Justin Timberlake for this record, I was intrigued. One of the most cutting-edge pop groups of the '80s coming together with some of the most visionary musician-producers of today? Bring it on!

I may have momentarily wondered if the Danja/Timbaland/Timberlake influence might dominate the proceedings, but for some reason it didn't linger in my mind long enough to become a concern ... and as it turns out, my faith was well placed. This album brings back the classic, innovative techno-dance-pop of Duran Duran that I grew up with, while at the same time updating it for the new century. Pulsating tracks like "Nite Runner" and "Zoom In"; the trippy soundscapes of "Skin Divers", "She's Too Much", and the freaky instrumental "Tricked Out"; and the swaying ambience of "Falling Down" and "Last Man Standing" -- every track is a winner, and it's often hard to tell where Duran Duran end and Danja/Timbaland begin. (Justin Timberlake's involvement is mostly limited to the lead single, "Falling Down".) And, of course, it wouldn't be Duran Duran without the stellar voice of Simon LeBon, which is still every bit as spry and vivid as it was 25 years ago.

After the band's initial split following their third album, it seemed inevitable that they would quickly fade into history, but they made an unexpected comeback with the excellent self-titled 1992 album (a.k.a. "The Wedding Album"). As it turns out, Duran Duran have had as many peaks and valleys in their career as Madonna, and that they can and should be a chart-worthy act for many years to come. Anyone who doubts that should take a listen to this album. Their age may keep them from appreciating it for the same reasons that I do, but on its own merits the music should make them react the same way I did: with a quietly awestruck "Wow."

Sunday, November 18, 2007

More Horrid Album Covers

Sorry, but I don't have a podcast for you again this week ... I have a bit of a cold, so my voice wouldn't sound very good. But don't worry ... next week's podcast will be coming at ya with a whole bunch of cool new music (birthdays are nice!). In the meantime, just in case you might have been intrigued by my previous post of bad album covers, I've found a couple of websites that you should check out:


LP Cover Lover -- Matthew and Tony are record collectors from New York City who've been accumulating crazy/shocking/bizarre album covers for years, and have been kind enough to show them to us. It hasn't been updated in awhile, but I just discovered it, so there are plenty of weird and wonderful finds to dazzle (or frazzle) the senses. I hope you can keep 'em coming, guys!










BizarreRecords.com -- Well, the name says it all. This site is run by Nick DiFonzo, who bestowed upon us the book I mentioned in that previous post of mine, "Horrifically Bad Album Covers". Here he gives us a huge visual gallery of the album covers he's collected ... some of which are in his book and some of which aren't. I could gawk at these in amazement for days on end!

Friday, November 16, 2007

Song of the Week: Grounded


"Grounded"
Stir
from the album "Holy Dogs" (Capitol, 2000)

I don't know much about the rock band Stir, other than that they're from St. Louis, Missouri. Their major-label recording career consisted of two albums, the second being the 2000 release "Holy Dogs". Like several other bands over the years, they fell victim to changes in the personnel and ownership of their label, which left them unpromoted, lost in the shuffle, and eventually dropped.

I mentioned this song before, and I thought I'd finally share it with you. It's a somber but lovely ballad on an otherwise energetic album. The vocal harmonies on this song are especially beautiful, and when the melody builds to its goosebump-inducing finish, it's practically guaranteed to put a lump in your throat. The CD is now out-of-print, but you should be able to find a used copy of it inexpensively, either online or at an independent store. It's worth seeking out.

Wednesday, November 14, 2007

CD of the Week: Gareth Gates


GARETH GATES
"PICTURES OF THE OTHER SIDE"
(19 Recordings/UK, 2006)

It's only been four years since Pop Idol runner-up Gareth Gates' last album, but it feels like it's been significantly longer, given the growth of his sound. Sure, he's still a pop singer, but in the same way that Take That are still a "boy band". Now, don't get me wrong -- "Pictures Of The Other Side" isn't nearly the work of art that "Beautiful World" is, but it's a significant leap beyond Gates' previous two albums. Every aspect of the album, from the sound of the vocals to the structure of the instrumentation and the composition of the melodies and lyrics, seems far more natural and mature than his past efforts. Gone are the teen-friendly, synth-pop dance tracks ... but that's just as well, 'cause he'd probably sound a bit silly singing those anyway. Few if any people will even notice those types of songs are missing; the album still provides plenty of breadth to keep us entertained.

The lead-off track, "Changes", with its ebb-and-flow between verse and chorus, was an interesting choice for the album's first single release ... obviously meant to drive home the point that he's "all grown up". Fans of Darren Hayes might find a few things to like in this album: while there are no actual contributions from the Australian synth-pop craftsman, shades of his sound appear in the verses of the title track before the choruses shift into more traditional instrumentation ... but the closing track, "Talking Minds", is a strongly Hayes-flavored affair: a swaying, hypnotic, digital lullaby in which Gates' vocals even sound kind-of like Hayes'. There's no shortage of upbeat tracks, either: "Lost In You" sounds almost like an outtake from Backstreet Boy Nick Carter's solo album thanks to the slightly raspy attitude he puts in the vocals; "Electric" is a decent lite-funk track; "New Kid In Town" is an enjoyable pseudo-rocker; and "Afterglow" has a steady glide of a beat that makes it sound like a lost Keane or Coldplay B-side.

At only ten tracks, running about 41 minutes, the CD might seem a bit short, but the videos from the first two singles are on the disc as a nice bonus. I don't know if this album sold well enough to warrant continuation of his record contract, but I sure hope so ... I'm willing to follow Gareth Gates' recording career for the foreseeable future.

Friday, November 9, 2007

Song of the Week: Umbrella


"Umbrella" (no, not that "Umbrella"!)
Bottlefly
from the album "Bottlefly" (Universal, 2000)

I've gotta hand it to myself, in that I have actually been able to avoid what's been probably the most unavoidable song of the year; I wouldn't know Rihanna's "Umbrella" from anything if I heard it on the radio ... in fact, I actually had to call up the iTunes store and play a sample of it to see what it sounded like (and I think I can safely say that I'm not eager to hear McFly's version of it, as much as I love them). It's no surprise, then, that whenever I hear mention of a song with that title, it's not her R&B single that comes to mind, but rather this infectious pop-rock ditty from British group Bottlefly, which featured Richie Wermerling, previously of the band Let Loose.

Bottlefly only put out one album, but it was a good one. I tracked it down after I heard one of its tracks, "Long Time Coming", on a budget compilation years ago. This here song reminds me a bit of McFly's "Little Joanna" in that it has somewhat silly lyrics which are easy to forgive thanks to the fine melody. Another song from the album, "Got 2 B Luv", made appearances on more than one soundtrack, but it apparently did little to boost the album's sales, and the group never released a second disc. It's a real shame, considering what an appealing mix of upbeat tracks and mellow ballads their debut was. So, give me this "Umbrella" over Rihanna's any day ... and I'd like to hear McFly's take on this one...!

Wednesday, November 7, 2007

CD of the Week: Kalan Porter


KALAN PORTER
"WAKE UP LIVING"
(Sony BMG/Canada, 2007)

I know, I know, I just posted a song from this album a few days ago ... but, like I said, things were kind-of going crazy at that moment, and I'd been chomping at the bit to get my hands on the album for weeks, so it was pretty-much destined to be a "CD of the Week" here. Hey, just be happy I didn't mention him at all in my latest podcast! Anyway, I must say that Canadian Idol Kalan Porter's second album (the first sophomore release from any Canadian Idol, by the way) was worth just about every minute of the wait.

On the surface, this album seems like nothing special -- your basic collection of radio-friendly pop songs. But dig deeper and you'll find a young musician stretching his creative talents. Having top songwriting credit on most of the tracks in this collection, Kalan delivers deeper lyrics (no doubt a by-product of the emotional journey that his mother's battle with cancer took him on) and finer melodies. But the highlight for me is that Kalan Porter voice ... probably because of the reason I've mentioned a couple of times before: the fact that such a rich, full voice bursts forth from such a waifish lad.

Nearly every track on the album is enjoyable, and there's plenty of variety in the tunes, so something's bound to please someone: the lofty, inspirational opener "Down In Heaven", the playfully cocky rocker "Hurray", the gorgeous waltz "Try" (worthy of Rufus Wainwright, and with a wall-of-sound feel that would make Phil Spector* proud), the darkly upbeat "Karma King", and the delicately beautiful ballad "One Last Try". Judging from Kalan Porter's artistic progression from his first album to his second, I think he's got a long career in music ahead of him, and I hope to see more albums from him in the future. I'll definitely be buying the next one!

*back when he was a talented record producer and not the psycho-looking, under-suspicion-of-murder dude he is now

Sunday, November 4, 2007

Thnairg's Podcast: Episode 3

Well, here it is, a week late but (I hope) worth the wait:

Thnairg's Podcast: Episode 3

This was originally intended to be just a "random songs" podcast, but it ended up becoming a "best of 2006" theme (only ten months late!), in which I feature some of the albums I highlighted in my "Hit Parade 2006" mix CD that I gave to friends and family last Christmas.

Now, for those of you who have that CD, don't worry -- the songs I picked for this podcast are all different than the ones on the CD, so you'll get to hear a second song from each of the albums that were featured on that collection.

Artists featured in this podcast include Bent Fabric, Landon Pigg, Holly Brook, Big City Rock, and more! So, don't waste another second ... dig in, and enjoy!!

Friday, November 2, 2007

Song of the Week: Destination (Where I Belong)


"Destination (Where I Belong)"
Kalan Porter
from the album "Wake Up Living" (Sony BMG/Canada, 2007)

Thanks to a slightly weird week, capped off by a plumbing malfunction this evening here at home (wish us luck living without running water for the next day or so), I've had almost no time to think about what to post as the Song of the Week. So, thank goodness for Canadian popster Kalan Porter ... I just got his CD in the mail yesterday and am still on a bit of a high from it, and from this song in particular.

There's just something I love about that five-note melody that forms the foundation for the verses ... it soothes and relaxes me. And so does that lush, hearty voice of his ... it seems to totally make the song what it is. I do still have to fully "digest" the disc, but my first impression is definitely a good one. Kalan gets to exercise his songwriting skills, taking first credit in most of the tracks. I have a feeling this song will be my favorite of the album -- or at least it'll be tied with "Hurray" (but only because that one features Kalan's violin playing and this one doesn't). Well done, Kalan ... no "sophomore slump" here!

Tuesday, October 30, 2007

CD of the Week: The Last Goodnight


THE LAST GOODNIGHT
"POISON KISS"
(Virgin, 2007)

It's happened a few times now ... I download a free single from iTunes and I think it's okay, and it pretty-much disappears into the depths of my music library without getting a second thought from me. Then, weeks later I happen upon the CD at the store and (just barely remembering that it was an album from which I'd downloaded a free song) I casually slip on the headphones at the listening station to sample a few tracks, not expecting much -- and I end up liking what I hear so much that I buy the CD. That's what happened with The Last Goodnight.

Aside from saying that these guys' sound is kind-of a cross between Maroon 5 and Supertramp, I don't really know how to describe them. Their lively and infectious blend of rock, funk and soul is kind-of like that pleasant sting you get from your toothpaste in the morning ... only this album is better, 'cause it holds that sensation for nearly all of its 42 minutes. Whether an affecting ballad ("Return To Me"), a mellow ditty ("Good Love") or an energetic rocker ("Push Me Away"), there's really not a dud amongst the dozen tracks, so steady is the flow of slyly hooky melodies and accessible but intelligent lyrics.

Lead singer Kurtis John's voice is not the kind I usually like (a bit more raspy and less smooth in the delivery than I care for), but for some reason it totally fits -- indeed, I suspect that I wouldn't have liked the album nearly as much if there were a different voice behind the mic. That kind of unpredictable and immeasurable appeal is a big part of what keeps music interesting to me; just when I start to get bored and jaded with all the junk out there, along comes a breath of fresh air like The Last Goodnight.

Sunday, October 28, 2007

Trick or Treat -- an Extra Song of the Week!!!

I'm sorry, folks, but I'm not going to have the new podcast episode ready in time, but I'll do my best to get it to you by next weekend at the latest. In the meantime, here's an extra little treat to make up for it: a bonus "Song of the Week" for the Halloween season. Enjoy ... and BOO!!

"Dr. Heckyll & Mr. Jive"
Men At Work
from the album "Cargo" (Columbia, 1983)

Don't be fooled by the beginning of this song ... it's not the "Weird Al" tune from last week again, it just sounds like it. In fact, that's what made me remember it as a last-minute Halloween upload. Men At Work were always somewhat whimsical, but perhaps no more so than in this delightful take on the Jekyll & Hyde story. The lyrics and the music are complete and total fun! Perhaps it's one reason why they were one-third of my "Holy Trinity" of favorite '80s artists, and why frontman Colin Hay continues to be one of my favorites today (even though he possesses less of the playfulness that the group did back then). Happy Halloween, everyone!!

Friday, October 26, 2007

Song of the Week: Nature Trail To Hell


"Nature Trail To Hell"
"Weird Al" Yankovic
from the album "In 3-D" (Scotti Bros., 1984)

There's perhaps no artist out there who was more likely to end up a one-hit wonder than "Weird Al" Yankovic. But somehow he beat the odds and not only released more than one album, but is still going strong almost 25 years later. Indeed, his career has outlasted those of quite a few of the artists whose songs he's parodied, and just last year saw the highest-charting album and single of his career.

One thing that goes unnoticed by most non-fans of Al is the fact that half of his material is original -- songs whose words and music are written solely by him. Here's one of the original tracks from his second album, and one that's perfectly suited for the Halloween season. It's about a part of American pop culture that hasn't gone out of style (at least not yet): the slasher film. This long, cartoonishly creepy movie trailer in the form of a song is great fun, complete with all the sonic staples of guts and gore ... howling wind, screaming victims, and werewolves in the distance.

One of the reasons for Al's longevity is probably the fact that he has the uncanny ability to stay plugged into what's going on in pop culture -- basically a requirement if your most well-known stunt is parodying other popular music artists. But there's also the simple fact of his talent: this may not be one of Al's better known original tunes, but for being so early in his career, it really showed that his gift for comedy music would serve him well for awhile to come.

Tuesday, October 23, 2007

CD of the Week: Eran James


ERAN JAMES
"TEN SONGS ABOUT LOVE"
(Heaven/Australia, 2007)

It's been suggested by at least one magazine article I've read lately that listening to music has turned into more of a passive activity than an active one, and it's certainly true ... mostly because the convenience of the MP3 era has relieved us of the torturous burden of physically getting up and putting a record on the turntable or a CD in the stereo, but also partly because we Americans have gotten into the habit of multitasking and are thus paying less attention to the music we listen to, even when it's chosen by us and piped through our own personal earphones. Well, if there's ever been an argument for devoting your undivided attention to a full album of songs, it's Eran James' new album, "Ten Songs About Love".

Could they have chosen a worse title for this album? It's misleading enough that I hesitated buying it, and I have to wonder how many other people have done the same. First of all, there aren't ten songs on the album, there are actually twelve. The song titles don't exactly lend credence to that fact: tracks 1 and 12 are honest-to-goodness, full-length songs, rather that the short "bumper" pieces that the words their titles start with ("Prelude" and "Epilogue") might imply. The other complaint I have about the album's title is, I'll admit, probably more due to my own short-sightedness -- I can't help but always think of a slow, quiet ballad when I hear the term "love song". Sure, I like a good ballad once in awhile, but I'd get bored rather quickly with a whole album full of strolling-in-the-moonlight songs.

Well, it turns out that my fears were unfounded, as the album's producers wisely livened up the proceedings with an equal share of bicycling-through-the-park-on-a-spring-afternoon songs. It makes sense: love can evoke carefree joy as much as cozy romance. Another reason I needn't have worried was the reason I was so eagerly awaiting this release in the first place: Eran's indescribably (but I'm gonna give it a try anyway) amazing voice, which has far more soul than an 18-year-old Australian white boy could possibly be expected to have. This is probably going to sound weird, but Eran has the kind of voice that I wish I could distill into a liquid and bathe in, it's so sumptuous to hear. From the soaring first single, "Touched By Love", through the Stevie-Wonder-style shuffle of "The Other Side Of Love" and the smooth jazziness of "I Still Do" (co-written by '70s blue-eyed-soul legend Daryl Hall), to the sensual sway of "We Can" and "Won't Even Try", Eran James effortlessly lifts a set of songs that would otherwise be quite ordinary to the level of Otis Redding's and Lou Rawls' best work.

Lest you think I'm overstating his vocal talents, take this into consideration: it's widely purported that a couple of years ago the late James Brown, Godfather of Soul himself, saw Eran James perform, went up to him afterward and told him, "Man, you sound blacker than me!" So, if you like classic-style soul music, or just great singing in general, you owe it to yourself to get this album. And if you don't take my word for it, take Mr. Brown's.

Friday, October 19, 2007

Song of the Week: Scared


"Scared"

A1
from the album "The A List" (Columbia/UK, 2000)

A1 were a British boyband who I originally dismissed as NSYNC wannabes ... but then, after "No Strings Attached", that's what almost all the other boybands seemed like, isn't it? Anyway, I eventually learned to appreciate this album on its own merits, especially after their third and final album, "Make It Good", which just might be their best.

When assembling your next Halloween mix CD, this track is a must-have. From the evil, echoing laugh at the beginning, to the heart-racing beat, to the frantic horror-movie-organ keyboards that bookend the tune, this one will give you goosebumps in the best way! It may be more of a love song than a ghost story, but that hardly matters.

The rest of "The A List", the group's second album, is just as much fun. It makes me wonder why all four of the A1 lads haven't gone on to greater success. All we've seen is Christian Ingebrigtsen recording one solo album in his native Norway, and Ben Adams releasing just one single before having his record contract seemingly pulled out from under him. Maybe the book is closed on A1 as a group, but I hope we haven't heard the last of its very talented members.

Wednesday, October 17, 2007

CD of the Week: The Click Five


THE CLICK FIVE
"MODERN MINDS AND PASTIMES"
(Atlantic, 2007)

I'm sorry, but I still think "The Click Five" is a dumb name for a band. But let me follow that up by saying that's really the only thing I don't like about this group. Their debut album, "Greetings From Imrie House", was a very good example of state-of-the-art power-pop. They were forced to find a new lead singer before starting work on their sophomore disc, but it hasn't hurt their sound one bit. In fact, I consider "Modern Minds And Pastimes" (a cool album title, by the way), to be better than its predecessor -- but that's not to say that Eric Dill's exit from the group had anything to do with it.

Along with scruffing up their appearance -- the matching suits and ties and retro haircuts were a cute nod to the Beatles, but perhaps just a bit pretentious -- The Click Five have also tousled up their sound just a bit. The catchy, tight melodies and fun lyrics are still there, but under slightly fuzzier guitars and rougher (in a good way) vocal arrangements. The boys have also broadened their sonic palette a little: along with the assortment of songs in the style that their fans are more-or-less used to -- the energetic opener "Flipside", the sweet-tart of a ballad "I'm Getting Over You", the song with the ultimate hum-along bridge ("Happy Birthday"), and the one with the raucously fun chorus ("Long Way To Go") -- they've also tried their hand at revival dance-rock ala Shiny Toy Guns ("Headlight Disco") with excellent results, and they've even done a bang-up job on an original tune that flawlessly recreates vintage '80s new wave ("Addicted To Me", probably my favorite of the album) ... definitely a big step up from their last effort, a lone cover -- albeit a good one -- of a pre-existing '80s hit.

Their name aside, The Click Five are probably destined to receive very little respect in America because they play power-pop, an inherently upbeat sub-genre of music that most Americans, for whatever reason, don't seem to like. And that's a real shame, 'cause if The Click Five continue in this direction, I'd love to be along for the ride, provided they can find enough of an audience to go along with them.

Monday, October 15, 2007

Thnairg's Podcast: Episode 2

It may be a day late, but it's here -- now with much, much less distortion in my voice! I hope y'all have been enjoying my podcast, and here's the second installment, ready for you to download for your listening pleasure...

Thnairg's Podcast: Episode 2

In this episode: I revive the "Discography" feature that was supposed to be a regular thing on my blog, but "died on the vine" after its first appearance months ago. It didn't even occur to me until after I had recorded the first episode that a podcast would be the perfect medium for such a feature ... after all, when you're trying to describe your love for a recording artist, a written blog can only do so much.

Anyway, the first honoree in my podcast version of the discography feature is Ben Lee. If you've never taken the time to sample his music, I hope you're willing to give these eighteen minutes of your time to do so. I think that some of you will come away with at least a small appreciation for his work, and maybe at least one of you out there will come to love Ben Lee as much as I do.

So, what are you waiting for? Download my latest podcast right here, and enjoy!

Friday, October 12, 2007

Song of the Week: Zavelow House

It occurred to me this morning that since Halloween is just around the corner, it'd be as good a time as any to start a Song of the Week theme leading up to the holiday. So, for the next three weeks, I'll be sharing songs with you that would feel right at home on a Halloween mix CD.


"Zavelow House"
Owsley
from the album "Owsley" (Warner Bros., 1999)

Will Owsley has served as guitarist, both live and in the studio, for artists such as Shania Twain and Amy Grant, before and since recording his solo debut album, "Owsley", in 1999. In my opinion, this is one of the most underrated albums in the world. It's packed from beginning to end with some of the most well-crafted and infectious power-pop in years.

"Zavelow House" is perhaps the catchiest on the album ... a colorful haunted-house tale full of kooky lyrics and a melody that's so fun it's -- well, scary! If you don't come away from listening to this song with a smile on your face or a bounce in your step, you may want to check yourself for a pulse ... that's right, you might be a zombie!

Owsley released a follow-up album in 2004, but seems to have focused more on his supporting work for other musicians than his solo career. Hopefully, though, we'll see another album from him sometime in the near future.

Tuesday, October 9, 2007

CD of the Week: Kristian Leontiou


KRISTIAN LEONTIOU
"SOME DAY SOON"
(Polydor/UK, 2004)

I happened upon this CD in the imports clearance bin on one of my last visits ever to a Tower Records. The cool cover art was the first thing that caught my eye, but I wasn't sure what to make of the artist's appearance. Buzz-cut hair, wearing a hoodie, with a piercing in his lower lip -- was this the next Eminem? Then I saw the promotional sticker on the front: "The incredible voice behind the hit single 'Story Of My Life'." The phrase "incredible voice" of course had me intrigued, so I decided to take a chance. What did I have to lose besides the measly six or eight dollars the CD cost me?

As it turns out, it was one of the better "blind" (or would that be "deaf", in this case?) purchases I've made over the years. It took a short while for the album to win me over, but now I'm seriously thinking about tracking down all the CD-singles for their B-sides ... a definite sign that I love it. The CD is something of a contradiction: the songs all sound fairly similar for the most part, but they're also distinctive -- I can recall the choruses of almost all the songs when I read their titles from the track listing. The unvarying sound of the songs isn't necessarily a bad thing ... the smooth flow from one song to another makes for a nice full-album listen, but the songs can just as easily stand on their own as singles.

The centerpiece, of course, is Kristian Leontiou's voice. Strong but also light and nimble, it's the perfect complement to the album's rich but relaxing electronic-based melodies. One review I read describes Leontiou as "a male Dido", and that's an apt description. Comparison to Daniel Powter would also be appropriate -- with a similar sound (adding piano in Powter's case), and even a vague visual resemblance, it's safe to say that anyone who loves Daniel Powter will probably love Kristian Leontiou just as much.

Friday, October 5, 2007

Song of the Week: Motor Mouth


"Motor Mouth"
Sugarbomb
from the album "Bully" (RCA, 2001)

Sugarbomb were a group from Fort Worth, Texas, who were kind-of like a cross between Fountains of Wayne and Sugar Ray -- power pop with crunchy guitars, tongues usually in their cheek, and not afraid to put a little bit of rap into their mish-mash of styles. They released one independent album, one major-label album (containing re-recordings of several tracks from the independent album), and -- as far as I can determine -- nothing since then.

This song is one of the more raucous numbers you'll find on their album "Bully", and one of the most interesting to listen to. It reminds the listener of influences ranging from The Beach Boys to Kid Rock; if you can imagine Queen and Frank Zappa getting together to cover a song by Limp Bizkit, it might sound something like this. As I've mentioned before, I normally don't like rap, but it seems a totally natural part of this song, and not the least bit annoying.

The rest of the album is just as tuneful and enjoyable, and is totally rap-free (not that it wouldn't be enjoyable if it did have rap). It's too bad there aren't more albums by these guys to enjoy.

Wednesday, October 3, 2007

CD of the Week: Matt White


MATT WHITE
"BEST DAYS"
(Geffen, 2007)

I'll be honest ... while listening to it the first time, I wasn't all that impressed with Matt White's full-length debut album, "Best Days". One song after another came and went without so much as a nod of the head or a tap of the toe to any of them. That is, until track 5 came along. The song, simply entitled "Love", grabbed me (as vigorously as a sweet, bouncy little song like that can), and the rest of the album never let go. Silly me, I only thought I knew what it meant to have an album "sneak up" on me until now. This one truly did.

There may not be much variety in the subject matter -- almost all the songs are about love -- but what the album lacks in that respect it makes up for in the range of sounds. There seems to be a fairly significant '70s influence on the album (the '70s funk of "Play" and the AM-radio pop of "Love"), but White manages to deftly stir his various influences together in innovative ways to come up with other excellent tracks like the straight-ahead rocker "Anybody Else" (which is very reminiscent of Maroon 5), the lovely ballads "Just What I'm Looking For" and "Miracles" (which shows how amazingly nimble his voice is), as well as a pseudo-tropical/ska hybrid in "New York Girls".

Knowing my affinity for male singer/songwriters, maybe it was inevitable that I'd like Matt White. But there are plenty of singer/songwriters that I haven't liked ... and he did manage to win me over more quickly than most others in that category. It remains to be seen if he has any staying power, but I have a feeling he'll be hanging out in my CD collection for the long haul.

Monday, October 1, 2007

The Dawn of a New Era!

Okay, get ready. Are you ready? This is a big moment for me. Remember how I mentioned last week that I was thinking about starting my own podcast? Well, I bought a microphone for my computer the very next day, and I only got as far as Sunday before I could no longer resist the itch to give it a dry run. Well, here's the result, sooner than I expected ... I now quasi-proudly present:

Thnairg's Podcast: Episode 1!!!

You can download it right here, right now! You'll notice that it's at a lower bitrate than usual -- 64Kbps ... not crystal-clear, but still clear enough that the songs sound just fine. And they're not full songs, but I do give you enough of them to get a feel for the song (and maybe you'll be intrigued enough to buy the track, or maybe even the whole album). Anyway, both the lower bitrate and the partial songs I chose to do primarily in the interest of making the finished file as small to download as possible, for those few of us who aren't fortunate enough to have a broadband internet connection just yet. The good news is that this file is nearly 18 minutes long, but is a nice tidy 8 megabytes.

But anyway, I really hope you enjoy this. It's not perfect -- a little distortion in the speaking parts which I hope will remedy itself next time with a slightly more careful positioning of the microphone. I also sound a little "stiff" in this podcast, but I think I'll "loosen up" over the subsequent installments. I think I'll just be doing this every other week for now -- better to start out slow and pick up the pace if I see fit, rather than to go crazy at first and use up too much material too fast. But I sure had a lot of fun putting this one together, so I have a feeling Thnairg's Podcast may be here to stay. So ... go ahead and listen, and feel free to tell me what you think!

By the way, just in case you missed any of the links to download the file, here's another one.

Thursday, September 27, 2007

Song(s) of the Week: Shine / Light Shine


"Shine" by Martin Ansell
from the soundtrack album
"Better Off Dead"
(A&M, 1985)




and


"Light Shine" by Swirl 360

from the album
"California Blur"
(Atenzia, 2005)




Okay, here's another curiosity that warrants a two-song post. As you'll find out when you listen to both of these songs, the choruses bear an uncanny resemblance. I'd say that the newer song legitimately borrowed from the older one, but the liner notes for "Light Shine" give no credit to Martin Ansell, the writer of "Shine". We all know how a melody can worm its way into your brain, so that can usually be forgiven ... but to have nearly the same lyrics in that melody? That's more than a coincidence.

The first song, "Shine", is from the soundtrack to the twisted and incredibly hilarious John Cusack comedy "Better Off Dead" (seriously, if you've never seen this movie, watch it by any means necessary as soon as possible!), and is pretty cool in its own right, though it does sound rather dated now. The second song, "Light Shine", is from the second album by American rock/pop band Swirl 360, which was only released in Europe. It's a great album, more rock-like than its predecessor, and most of its songs are better than this one. (I may review the album here sometime.)

The optimist in me would like to believe that Swirl 360 either deliberately lifted from Ansell but unintentionally neglected to give the proper credit, or they unintentionally copied from Ansell and didn't realize there was credit to give. Maybe one or more members of Swirl 360 saw the movie once, and that's how the song planted itself in their subconscious. Like I said, I still like Swirl 360 as much as I ever have, even if they copycatted Martin Ansell's song on purpose. I just thought it was kind-of an interesting similarity between the two songs. What do you think -- copycat or coincidence?

Tuesday, September 25, 2007

CD of the Week: The Shore


THE SHORE
"THE SHORE"
(Maverick, 2004)

They say you should never judge a book by its cover, but there's always an exception to every rule. Take this CD, for example -- the image of dancing watercolors around a pastoral woodland accurately evoke the sound of this album: an equal blend of '60s psychedelia and '90s Britpop wherein the swirling guitars and echoey soundscapes dovetail to form the backbone of their sound. The irony is that this is a 21st-Century band from the United States (although their California origins do come through somewhat as well).

The album starts out with a slow, somber dirge ("Hard Road"), but soon picks up momentum, taking on an evenly paced mix of upbeat and downbeat tracks. Highlights include the hopeful "Waiting For The Sun", the swaying rocker "It Ain't Right", the buoyant ballad "I'll Be Your Man", and what has become one of my top dozen favorite songs of all time, the anthemic "Everything We Are" (if you buy only one song from this album, make it that one!).

Some of the songs might sound samey, but then if the whole album is this good, then it's not necessarily a bad thing. The sweet-and-sour voice of lead singer and chief songwriter Ben Ashley complements the band's sound perfectly, helping carry the album through a quick 46 minutes. Word has it that The Shore are still together, looking for a new record label. I sure hope so, 'cause I hate to think that this is all we'll ever hear from them.

Monday, September 24, 2007

Some Kind of Creative Drought

Sorry that the posts have slowed down a bit lately. I haven't been very motivated recently with regard to Thnairg's World of Music. Things have been a bit busy with work, so I've wanted to rest on the weekends more than anything else. I've also had a little trouble thinking up interesting things to write about. I hope this is just a slow period that will pass with time, and that things will bounce back to their lively old selves soon.

I have been thinking about doing my own podcast -- maybe a 15-minute audio program every week (or 30-minute if I get really daring) in which I share my favorite music with you. I've recently found out that an acquaintance who works at a local record store has her own radio show, and I've been daydreaming about the ridiculously huge amount of fun it would be to have my own radio show, and a podcast could be a promising alternative. The good news is, all I need is a microphone for my computer, since I've already got the audio editing software I'd need to paste the whole program together. I get excited just thinking about it, so if my podcast ever happens to materialize, rest assured that here is where you'll be able to download each and every episode.

As I said recently, I'm not shutting down this blog for good ... at the bare minimum, you'll keep getting a CD of the Week and a Song (or two) of the Week. Oh, and speaking of Song of the Week, be sure and cast your vote in the poll at the top of the right-hand column. (It expires at the end of this month.)

Wednesday, September 19, 2007

Song(s) of the Week: McAlyster


"I Know How The River Feels"
and
"Looking Over My Shoulder"
McAlyster
from the single "I Know How The River Feels"
(MCA, 2000)

MCA's Tony Brown and Bruce Hinton have signed a four-piece Florida band after hearing just one song on a demo tape. McAlyster, which came together two years ago in Pensacola, includes Josh Walther, Cody Collins, Leigh Usilton and Valerie Gillis. The band came to MCA's attention through Nashville music publisher Pat Finch. The actual demo recording, a cover of "I Know How the River Feels," will be released to radio this fall. The tune went to No. 32 on the Billboard country singles chart for Diamond Rio in 1999 and was included on Ty Herndon's 1997 disc Living in a Moment.
That 2000 news tidbit on the CMT website basically summarizes McAlyster's career. I can only assume that they were fully expecting to put out an album, but something obviously happened to derail that plan after their first single was released, and they were never heard from again, at least as a group.

That's right, folks -- these two songs represent the entire professional recording output of the teen country quartet known as McAlyster. I don't particularly care for country music, but I picked up this two-track single out of curiosity back when it was first released (and I bought Reba McEntire's "Duets" album this week, so "having country on the brain" probably has something to do with why I chose them as Song of the Week honorees). These songs, a pretty ballad and an upbeat fiddle-filled kicker, are pleasant enough, even for a country music detractor like me.

After about half an hour on Google, I was able to dig up the following: Cody Collins (I can only assume it's the same Cody Collins) has a MySpace page and is now recording country music as a solo artist; Leigh Usilton (there can't be very many of them out there) is pursuing higher education in New England; and there's a Josh Walther who's a performer at Dollywood (I've got a feeling that's him). Anyway, I just thought it would be a curious novelty, to post the only two songs that a group ever officially released. Enjoy!

Tuesday, September 18, 2007

CD of the Week: Ben Lee


BEN LEE
"RIPE"

(New West, 2007)

Why the hell hasn't Ben Lee become a household name and a multi-platinum-selling superstar by now? He ought to be, 'cause he makes much better music than half of the recording artists who regularly inhabit the Top 40. Maybe it's because his lyrics aren't usually exceptionally profound. Maybe it's because his songs aren't especially angry or sexy or sullen. Maybe it's because he doesn't have pinup-model good looks. Well, as he effectively demonstrates on this, his sixth disc, none of the above are necessary ingredients for a thoroughly enjoyable, Top-40-worthy album.

"Ripe" may not have been intended as a sequel to his previous album, "Awake Is The New Sleep", but it feels like one. Everything that made that album a total delight to listen to is present here: the gently head-bobbing tunefulness of the melodies, and the lyrics with dashes of impish wit in the verses and sing-along simplicity in the choruses. The songs are all great, but some of my early favorites are "Birds And Bees" (a lovely little love song that stops short of being treacly thanks to Ben's effervescent vocal interplay with guest Mandy Moore), "Numb" (an almost Tin-Pan-Alley-inspired romp), "Love Me Like The World Is Ending" (a worthy descendant of sorts to "Gamble Everything For Love", my favorite song from his last album), "Just Say Yes" (a rousing anthem for life and love), and the engaging and cleverly-written ballad "So Hungry".

I'd love to see Ben achieve massive success because I think he deserves it, but I'm sure he's quite content with the cozy feel of an independent-label recording contract and a modest cult-like following of fans. Plus, I hate to think of what effect major-label meddling could have on the purity of his music. Besides, when an artist has people like Mandy Moore, Rooney, and Rachael Yamagata making guest appearances on his albums, it's not like he isn't feeling loved.

Thursday, September 13, 2007

Song of the Week: Creepin' Up Slowly


"Creepin' Up Slowly"
Taxiride
from the album "Garage Mahal"
(Warner/Australia, 2002)

Australian band Taxiride went worldwide with their debut album "Imaginate" back in 1999, but disappointing sales in the United States prompted them to bypass North America for their subsequent releases. Besides narrowing its distribution, there was another difference apparent in their sophomore effort: the sound. Taxiride took the airy, BBMak-like sound of their first album and roughed it up a bit, throwing in crunchier guitars, slightly heavier drums, and sometimes moodier lyrics.

One of the more pop-oriented, radio-friendly tracks off "Garage Mahal" was this totally infectious single, which became the most-played song on Australian radio that year. "Creepin' Up Slowly" reminds me a lot of Hanson's "If Only", probably in part because I'm not all that crazy about the "scratching" effects -- really the only thing about either song that I don't love. Why put such a "poppy" element in a song that's otherwise firmly planted in rock, especially if you're wanting to be taken seriously as a maturing band (something that Hanson, and presumably Taxiride to a lesser degree, were trying to do)? That one minor flaw notwithstanding, this song is otherwise a slice of pure music bliss.

Taxiride went a bit heavier still for its most recent album, "Axiomatic" (perhaps a bit too much, since I ended up trading it in eventually), but they did have one equally dandy single, "Oh Yeah", from that album. But I consider "Garage Mahal", and specifically the song "Creepin' Up Slowly", to be their peak. Maybe they'll have another one in the future....

Wednesday, September 12, 2007

CD of the Week: V


V
"YOU STOOD UP"

(Universal Island/UK, 2004)

As much as I love boybands, even I was a little overwhelmed by the avalanche of them that occurred in the late '90s following the success of Backstreet Boys and NSYNC. A few were good and stood the test of time, but most were mediocre and disappeared after their first album, and the boyband phenomenon died out almost as quickly as it appeared. Apparently someone thought it was never too early for a boyband renaissance, as we saw a new (and significantly smaller) crop of them appear a few years ago in the UK. Arguably the best of them was a group called V.

V eschewed the standard synth-dance-pop formula in favor of a more mature, guitar-based sound. I don't know if it's for that reason alone, but every song on this album is excellent. From the funky attitude of "Blood, Sweat & Tears" and "Walk On", to the foot-shuffling pop of "Hold Me" and "Hip To Hip", to the tender balladry of the title track and "Stop The Tears", and capped with a fantastic cover of the Jackson 5 classic "Can You Feel It", this is quite simply boyband pop at its best -- complete with well-written songs and expertly sung vocals all around. There are the incidental pluses about the album (at least one songwriting credit and one guitar contribution by Espen Lind, and a featured appearance by McFly's Tom and Danny) that may have initially drawn me to it, but I'm certain I would have eventually happened upon it and enjoyed it just as much without them. Sure, it may not be perfect ... the lyrics in "Hip To Hip" could have been a bit more sophisticated in places, and "Earth, Wind & Fire" sounds just a little bit too much like "Blood, Sweat & Tears" ... but there's very little that could have made this album any better than it was.

Unfortunately, the lads of V weren't able to muster enough support or record sales, and the group broke up after its one and only album. Perhaps the world wasn't quite ready for a boyband resurgence, because with an album this good, I can't fathom why else their recording career ended so quickly. I'll forever wonder what a brilliant sophomore album they would have recorded if they'd been given the chance, because they inevitably get better as they progress, and precious few boybands' debut albums are as good as this one was.

Monday, September 10, 2007

I Gots The Funk 'n' Blues

I've been a little concerned lately that I may have started to lose interest in music. Is it possible for a person to be worried about something and also to not care much about it at the same time ... a mix of anxiety and apathy, perhaps? Because this feeling of "anxiapathy" is just the effect this revelation is having on me. Maybe it sounds a little crazy, but if you felt it yourself, you'd understand.

I first noticed about a year ago that I had stopped listening to the promotional CD samplers I habitually picked up in the independent stores' "free stuff" bins or had been receiving in magazines. Now the vast majority of them either go back to those bins never having been listened to, or just end up on a shelf or my desk collecting dust. It's the same thing with music magazines: I used to read all the little articles on up-and-coming acts, checking each one's "recommended if you like..." section for artists I already love. But I rarely do that anymore, either. One reason for that is because I've discovered over the years that those "you might also like..." lists can be very hit-and-miss. It takes more than a passing sonic resemblance for me to like an artist; it's a combination of things (the singer's voice, the composition of the melody and lyrics, the instruments used) and how they fit together -- and I think there's even a proverbial "je ne sais quoi" involved, that intangible effect on the listener's ear that an artist's music either has or hasn't.

I think part of my apparent "music ambivalence" might stem from the fact that I've discovered some truly fantastic artists in the last few years. It sounds like a paradox, I know, but it makes a certain amount of sense: Erik Faber and McFly are two of the most amazing artists out there right now (check out this recent post from Poster Girl ... the way she feels about Espen Lind is pretty-much the way I feel about Erik Faber), and I find it quite impossible to imagine falling in greater "love-at-first-sound" with any other artists than I have with them. And, as you might speculate, it's a bit difficult to look forward to discovering more great music in the future when you can't imagine anything better out there than what you've already heard.

On top of all this are two other circumstances at work: my continuing struggle to spend less money on music (at least where my credit card is concerned), and a general feeling of "sensory overload" -- with the endless bombardment of music blogs (as wonderful to read as they are) and the recommendations, reviews and MP3 downloads they contain, it's easy to feel like you're drowning in a sea of sound ... I'm surprised I haven't felt overwhelmed before now.

Don't worry ... I don't plan on shutting down this here blog anytime soon. And I won't stop reading other people's blogs either, though I might become a bit less avid about it. And of course I'm gonna keep buying CDs I have my sights set on in advance, from my favorite artists and new ones I happen to catch wind of. But, if it's all the same to you, I'll no longer go probing every cyber-nook and CD-cranny for every possible music discovery. I've got plenty of tunes to listen to already, and I've decided that if I'm meant to fall in love with a particular song or a certain artist, fate will send them my way. I still love music ... but I think I'll love it more if I rest my ears more often.