- - - - - - - Favorite CDs of the 2000s - - - - - - - Favorite CDs of the 1990s - - - - - - -

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.