What You Should Have Heard #57

Foo Fighters – Wasting Light

Today's supposed to be a Video Constitutional day, but I'm in a Foo Fighters mood and wanted to post this CD review.

I was originally going to add this as an update to my earlier Foo Fighters Mix CD entry, but the latest release from Dave and company is just too damn good and it really means too much to me to just tack on to an existing post.

I think I will always remember the first half of 2011 as the half-year of the Foo Fighters. It’s either that or remembering it as the year my divorce was final. That’s just too depressing. But it does tie in to why I’m in love with this new CD so much.

So yeah, after being separated for just over a year, my divorce became final in mid-February, and my ex started dating someone shortly after that. It turned out to be a pretty stressful time for me. You might roll your eyes, but one of the things that helped get me to a point of acceptance was listening to Wasting Light over and over and over again.

The first full track to be released was “White Limo,” which was released as a video featuring Lemmy from Motorhead. I liked it, but it's not generally the type of Foo song that I like. It really brought back some of the raw energy from the first CD, which is my least favorite, and really, it's the least like any of the others. "White Limo" really makes me think of that album, especially the tracks "Weenie Beenie" and "Watershed," I guess just because of how lead singer Dave Grohl is singing. Not a big fan of the raspy singing, here. But overall I like the song better than either of the ones I mentioned. “Rope” was released as an actual single a couple of weeks later, and I liked it a LOT more.

Sometime in March, the Foos made the entire album available via streaming from their website. I listened, and I listened, and I listened. I listened to it at least once a day, sometimes twice. I was in love with it and thought it was the best CD the group had ever done. Later that month I fired up iTunes, which I hadn’t done in a LONG time, and pre-ordered the CD. This wasn’t something I was going to eventually get or try to find in a bin at a used CD store. Nor was I going to rip the streaming feed from their website. I was gonna pay my money and I was gonna have the music.

Also in March, the band revealed some dates for their tour in support of the album. The closest to me was in Memphis on a Friday night. And who happened to be one of the opening bands? None other than my current 2^nd favorite band Biffy Clyro! So yeah, I had to go. I ordered tickets the minute they went on sale, and as I write this, I’m 24 hours away from getting in the car and heading to Memphis. So excited!

The week before the CD was released, the Foos released a documentary, Back and Forth, chronicling the rise of the band and the production of the new album with a live show simulcast to all the theaters afterward. I had planned to see it because it was screening in Franklin, TN, but my son had a baseball game that night that I didn’t want to miss. I was sad until I learned that it would be shown the following weekend on VH1, minus the concert. I learned some things about the group that I never knew, and seeing them at the end, everyone with their families at Dave’s house before they started working on Wasting Light, that was just really great. I will definitely be buying this when the DVD is released on June 14.

When the CD was released on April 12, I’m pretty sure I had it on rotation the entire day. That night the band performed their entire album for the concert series “Live on Letterman” in the Ed Sullivan Theater. I was able to watch it online during that week. It was such a treat to watch them paying homage to the Beatles (black and white, black suits with skinny ties, the way their name appeared on Taylor’s bass drum) and to get a glimpse of what I was in for when I finally got to see them live. A couple days later the group played the entire album from their home-built studio, Studio 606, and put it up on YouTube.

All through April I ended up listening to the CD every morning as soon as I got into work. The only song I’m not thrilled with isn’t even a regular album track, it’s the “Rope” remix that was included with the deluxe edition on iTunes.

This album really feels like the group took everything they learned from each of their previous albums smooshed all of that knowledge into this one. You can probably find a song that would feel right at home as a track on one of the earlier ones. But it doesn’t feel unconnected like a greatest hits CD does. It flows wonderfully from track to track, and it really keeps you engaged. Bypassing the oddity of the “Rope” remix, by the time the other iTunes extra “Better Off” is over, I’m always surprised when the music stops. Even if I’ve got it going as background music, I’m just so connected to it.

I mentioned earlier that my divorce ties in to why I love the CD so much. Listening to it and really hearing and understanding the lyrics helped me move toward accepting my situation. I’m not saying it totally got me out of my depression, far from it, but it helped.

I think I can pull out lyrics from every single song except for “White Limo” that mirrors my situation, from the break up, through the depression and questioning my decisions, and finally to acceptance. Having the CD end on “Walk,” a song that resonates as a theme for moving on after a difficult transition, was wonderful. A relationship that began when I was in high school 15 years ago has come to an end, and I’m unsure now of where that part of my life will take me, or even how to start that new chapter, that new journey. But “I'm learning to walk again/Can't you see I've waited long enough/Where do I begin?/I'm learning to talk again/I believe I've waited long enough/Where do I begin?”

What You Should Have Heard #4

I’ve only recently received Say Anything’s latest CD, their self-titled third release, and it’s difficult for me to review a disc with only a couple week’s worth of listening under my belt. What makes it even more difficult is that the group’s debut album, Is a Real Boy, is probably in my Top 10 of CDs. I can listen to that thing nonstop.

The problem I have with getting so invested in a particular CD by a particular group, though, is that any other release fails to measure up. So far, that’s the problem I’m running into with Say Anything. It’s a fine CD, but it’s no Is a Real Boy. I can sing along constantly to that CD, but this one just isn’t as catchy. It’s emotional, but it doesn’t seem nearly as personal.

The more I listen to this in order to write something about it, the more I come to dislike it, and that makes me sad. I liked this group’s first CD SOOOO much, and I don’t know if it’s that I put that one on a pedestal, or if this CD really isn’t all that great. There are only two songs that I can actually get behind, Hate Everyone and Do Better, and that’s not really enough to recommend this, even though I’ll probably always be a fervent supporter of Say Anything (and I still cringe everytime I listen to Do Better and hear the line about Will and Grace).

Here’s a video from one of the better songs on the CD, Hate Everyone. It does well to recapture the poppy, upbeat anger that fueled Is a Real Boy, but it still feels a bit manufactured, like Say Anything lead Max Bemis tried too hard to recapture what he had with his debut, just without the raw emotion.

Official Website

Wikipedia Entry

Allmusic Entry

Hollywood Undead: Swan Songs (CD Review)

I got this CD on the strength of one song, and that’s the first single (and first track) "Undead." It’s loud, driving, and really gets you pumped up. Too bad the rest of the CD tends to let you down.

It’s not that the CD is necessarily bad, it’s just that it doesn’t really live up to the first two tracks, which are stylistically similar. Once we get to the third track, "Everywhere I Go," this turns into a rap/rock CD with Eminem. It’s NOT Eminem, but it sounds a lot like him. And it’s not just the voice that makes one recall Marshall Mathers, but the lewdness of the songs, too. And when they’re not channeling Emenim, they’re channeling the Bloodhound Gang ("No. 5"). If you listen reeeeeal close, you can sometimes catch a bit of some Beastie Boys influence. But all that says to me is that there’s not a drop of originality on this disc.

The disc isn’t a waste of money as long as you’re looking for something juvenile and fun. But as I said, don’t expect anything original. You won’t find it here.


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Listening to: Hollywood Undead - City
via FoxyTunes

Harry Connick, Jr.: What a Night! A Christmas Album (CD Review)

This is Connick’s third (third and a half if you count When Harry Met Sally, since it has some Christmas songs on it) Christmas album, and really, do we need that many Christmas albums by one person? I mean, I love the guy. I’ve seen him in concert three times, have most of his CDs, and even liked him on Will & Grace (but not as much as I did on Copycat), but c’mon. Three? Really?

Connick is a wonderful singer, piano player, songwriter, and composer. He will always be included in my top ten list of favorite musical performers. I just can’t get excited about this CD, though. It’s same-old same-old for the guy. There’s absolutely nothing on this CD that you can’t get from the previous two. Yes, I know that he doesn’t actually repeat any songs, but c’mon. Out of the 15 tracks on the CD, four are new songs. The rest are holiday standards. Some he does with orchestral backing, the other with his big band.

I’d have to say the low point of the CD is his jazz arrangement of Tchaikovsky’s Dance of the Sugarplum Fairies. Some things are classic for a reason and do not need to be updated.

He’s got three duets on the album, two with Kim Burrell and one with his daughter, Kate. I generally don’t enjoy female jazz singers, at least the ones I’ve heard. Actually, I’m not that big on big-band vocalists in general. I enjoy listening to the instruments. Perhaps it’s because of my time playing sax in various jazz bands in high school and college. So I’m not a big fan of the duets here, although I will give the guy props for exploiting, I mean including, his daughter. While I didn’t care for her voice, I’m sure it was a fun time for father and daughter.

So if you’re looking for some Christmas music, my recommendation would be to find Connick’s first Christmas album, When My Heart Finds Christmas. If you’ve already got that, then search out something else, something NOT by Mr. Connick, Jr. Venture outside your comfort zone. Be random, be spontaneous, be adventurous, be daring! Or don’t listen to me. Be that way.


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Listening to: Panic at the Disco - Nine in the Afternoon
via FoxyTunes

Fall Out Boy: Folie A Deux (CD Review)

I don’t like Pearl Jam much anymore, but I really respect them. "Why is that?" you might ask? Well, it’s because they’re not afraid to evolve and change their musical style. I think it’s also one of the main reasons why I like Self. No two CDs sound alike. For me, each of Pearl Jam’s first three CDs was better than the previous, hitting the climax with Vitalogy. While I still enjoyed No Code, there was a definite downturn in enjoyment, and I haven’t really liked anything since. But I really respect the band for not sticking with what made them popular and experimenting with different sounds and styles.

Now, what does this have to do with the latest Fall Out Boy release? Well, we’ve got kind of the opposite effect going on here. Their first two full-length releases (Fall Out Boy’s Evening Out with Your Girlfriend and Take This to Your Grave) were craptastic, even though Take This to Your Grave wound up hitting Gold status. I think I read somewhere that for the next release (From Under the Cork Tree) songwriting duties switched from lead singer Patrick Stump to bass guitarist (and Mr. Ashley Simpson) Pete Wentz. I don’t know if I’m actually remembering this correctly, but something definitely changed. This CD is one of my favorites, and I can always pop it in the player and enjoy it.

So I was pretty excited when the follow-up, Infinity on High, was released. But it didn’t take me too long to get extremely tired of it. Other than the intro by Jay-Z and a few songs, nothing about it really grabbed me, and I really didn’t know why.

I figured it out with the release of Folie A Deux. The CDs all sound the same. FOB hit it big with FUtCT and pretty much stuck with that sound. Heck, in this CD they actually reference previous songs, and it’s pretty blatant. Check out the end of What a Catch, Donnie and you’ll hear some lines from earlier songs. And some of the singing is actually really bad. Again in What a Catch, Donnie, parts of it are just painful to listen to.

To give them a bit of credit, though, they at least started titling their songs better.

So whichever of the last three FOB CDs you like best, just keep listening to it. There’s nothing new or different (or memorable, or funny, or whatever) to justify buying all three.


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Listening to: Avril Lavigne - Girlfriend (DJ Echo Remix)
via FoxyTunes

Kanye West: 808s and Heartbreaks

I was going to review Fall Out Boy’s new CD, but then I listened to this for the first time and had to do a write-up.

My God, this is awful. First of all, it’s a lot more mellow, almost depressing, compared to Graduation or Late Registration. There aren’t any really catchy tracks, nothing to sing (or rap) along to. While I’m admittedly not a huge fan of rap, I like a bit, and Kanye is part of that bit. Give me another Stronger from Graduation, Gold Digger from Late Registration, or The New Workout Plan from The College Dropout. But we get nothing. I guess he had cause to make a more mellow, more reflective CD due to the death of his mother in late 2007, his break-up with his fiancé, and the increased media presence around him.

That’s all well and good, but do you use those motivations to make a pop album, because this is not rap, and I don’t think it’s fair to call this R&B (fair to R&B, that is). I say that because of the heavy use of a drum machine (a Roland TR-808 drum machine, to be exact where the CD gets half of its name from). To me, it’s hard to sound sincere with an electronic beat behind you.

Which leads into my final but biggest gripe of the CD, the electronic sound of Kanye’s voice due to his reliance of an Auto-Tune. The only thing I can compare it to is a Speak and Read. Do you remember that? You typed in a word, or it told you a word, and you had to spell it. I think they might have also been called See and Says, and there might have been one for math. Anyways, if that thing would be able to speak in a non-monotone voice, I would have thought that Kanye just programmed one with all of his songs. It’s used in every...damn...song.

If I have to give one compliment or say one nice thing, it’s kudos to you Mr. West for breaking out of your comfort zone. Congratulations, you did it. Now please, go back there, or try something else next time, but please don’t subject us to any more of this.

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Listening to: Kanye West - See You In My Knightmares Ft. Lil Wayne
via FoxyTunes

Guns 'n' Roses: Chinese Democracy (CD Review)

Wow. Did anyone actually think they’d ever live to see this day? This has been in the making for, what, a decade?

Well, I’ve had the chance to give this quite a few full listens, and overall I really like it. But I feel I must give a warning to any GNR fan who hasn’t listened to it yet: this is not the GNR that we all know and love. We all knew that Axl was the only original member of the group still kicking it old school (the rest were over with Scott Weiland [Stone Temple Pilots] in Velvet Revolver) and there’s been a number of people to join and leave the band. So who can say if the CD sounds different because of the musicians or because that’s just the way Axl wrote it? If you look at Appetite for Destruction and then the two Use Your Illusion CDs, you might think that the CD sounds so different from what we got in the 90s because Axl grew and evolved as a musician, and that’s what I’m going with. And since it has been a decade or so, even Axl’s voice sounds different, a LOT different on some tracks (If the World and This I Love most notably).

I’d have to say that the two tracks that most sound like GNR (at least the sound I imagine when thinking of the group) are Chinese Democracy, Scraped and I.R.S. The sound obviously doesn’t have Slash’s trademarked guitar sound behind it, but these tracks blend Axl’s screeching vocals with the driving guitar to push the tempo. It evokes Shotgun Blues or Nighttrain.

Shackler’s Revenge is very Nu-Metal (I hate that term). The screeching guitar at the beginning and used intermittently throughout the song make you think of Korn or, to a lesser extent, Limp Bizkit.

One thing I really enjoyed was the use of strings and the piano. The piano at the beginning of Street of Dreams brought back November Rain memories, but when Axl first comes in, his voice sounds odd. It kind of ruins it for a moment. The more orchestral sound is also used to good effect in If the World, There Was a Time and Catcher in the Rye, and we get some horns thrown in in Madagascar (and apparently we find out that Axl either really likes Cool Hand Luke or really likes Struther Martin, because he throws in the same quote that was used at the beginning of Civil War from Use Your Illusion) and This I Love.

Like I said, I really like this CD, but it doesn’t sound like a Gun ‘n’ Roses album. It sounds like Axl and a new band, which is what it is. So if you’re on the fence about buy it, take that into account, but I think, whether you’re an old fan or just looking for something new, you’ll get your money’s worth.

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Listening to: Amusement Parks On Fire - You Made Me Realise
via FoxyTunes

Self: Subliminal Plastic Motives (CD Review)

Here’s a bit of a departure. This CD is not new. It’s not even recent. It’s actually more than a decade old. But you know what? It’s still awesome, and it actually contains the song which contains the line that I have chosen for the title of my blog.

I first heard Self in '96. Two singles, Cannon and So Low, were in decent rotation on two stations in Nashville, Thunder 94 and 103 KDF (both stations have long since undergone content changes). At the time, Nashville had a free summer concert, Dancin' in the District, every Thursday night. Self was headlining one night, and I went. They were crazy awesome live. And they had life-size Star Wars cut-outs on stage! After that, I ended up ordering this CD from BMG and listened to it constantly.

I think the CD is very much a product of its time, but still ahead of the curve. I'd classify it as post-grunge rock (think more Smashing Pumpkins, Beck and a bit of Weezer rather than Pearl Jam and Nirvana), but it utilized sampling at a time when I remember sampling only being used in rap.

What really impressed me about the CD, though, is that almost everything is done by (now) Self frontman Matt Mahaffey. The group really didn’t become a group until Matt started touring, and then he kept the guys on for subsequent CDs. The only other two times I know of this being done (I’m sure there are more, but I only know of two) are Foo Fighters debut release Foo Fighters and Abandoned Pools release Humanistic (I think that’s the one).

From the first track to the last, this CD seems almost perfectly put together, and would be a great (and probably extremely cheap) addition to any CD collection.

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Listening to: Ambulance LTD - Heavy Lifting
via FoxyTunes

Dr. Horrible's Sing-Along Blog Soundtrack (CD Review)

Who will like this soundtrack? Fans of Joss Whedon (Buffy the Vampire Slayer, Angel, Firefly/Serenity, the upcoming Dollhouse). Fans of Neil Patrick Harris (Doogie Howser, How I Met Your Mother). Fans of Nathan Fillion (Two Guys and a Girl, Slither, Firefly/Serenity, Buffy the Vampire Slayer). Fans of musical comedies (yeah...I got nuthin’).

During the writers’ strike of 2007/2008, Joss and his brothers got together and created this Internet sensation. It was aired as three +/- 14 minute episodes between July 15 and 20, 2008. NPH plays a super-villain, Dr. Horrible, who has a crush on a girl from the local Laundromat (Penny, played by Felicia Day). Nathan Fillion plays Horrible’s nemesis Captain Hammer, an extremely egotistical super-hero who actually ends up dating Penny.

The first two episode are full of hilarity, while the last is full of Joss Whedon relationship...setbacks.

The soundtrack is very short, clocking in at 25 minutes. But if you’ve seen the episodes or have even seen/heard the Buffy musical episode, it’s a great listen. NPH has a great voice. He doesn’t come across as an evil super-villain, but more like a love-sick puppy dog. Felicia has a very innocent sound to her voice, which is perfect for her character. Fillion is definitely the weak link if you’re looking at voice talent, but I think it fits his character perfectly. Captain Hammer would think he’s a better singer than he actually is.

The soundtrack is available as a digital download on Amazon.com ($8.99 or $.99/song), and both the soundtrack ($9.99 or .$99/song) and "season" ($4.99 or $1.99/episode) are available on iTunes. Trust me, they’re both worth it.

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Listening to: Mika - grace_kelly_(album_version)
via FoxyTunes

Panic at the Disco: Pretty Odd (CD Review)

From the get-go you know this is going to be a completely different album than their previous, A Fever You Can’t Sweat Out. That’s encouraging to me. I really enjoyed a few of the tracks off of Fever, but the record as a whole left me very cold. I thought it relied too much on electronics, and it felt like the group were trying to figure out who they were, and this, unfortunately, wasn’t it.

I think they’ve found it with Pretty Odd. Many things stand out that differentiate this album from the last. First, the electronic feel of the last album is totally gone as actual strings and horns have been incorporated into the music. I feel that these inclusions added to the direction that the music has gone fits lead singer Brendon Urie’s voice and singing style. Which brings me to difference #2: group founder and guitar and keyboard player Ryan Ross shares lead vocals with Urie on this album. His voice is noticeably different, but similar stylistically so that the album’s momentum isn’t interrupted.

This album also feels like it has some heart put into it. As mentioned, the previous CD felt cold and calculated, even the songs I liked. It was like the songs were written to be clever, or even manufactured rather than from an organic song-writing process. Pretty Odd sounds more comfortable, like this is what the band had meant to sound like all along.

One thing that struck me odd about the song She’s a Handsome Woman, Urie seems to be singing with a retainer in his mouth. A heavy lisp is very noticeable during the verses but mysteriously disappears during the chorus.

After this CD, I’m looking forward to future releases by PatD, providing they build on what they’ve got here. You’ve found your sound, guys, now run with it.

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Listening to: Panic at the Disco - Mad as Rabbits
via FoxyTunes

Buckcherry - Black Butterfly (CD Review)

This album is nothing but a couple of good singles and a bunch of filler material. To me, Buckcherry works best when they’re working with a driving, lyrically immature song. They caught my attention with Crazy Bitch on their last album. With this one it was Too Drunk. And with both songs, I can zone out during the entire song except for the chorus (I’m getting’ drunk all night/I’m getting’ drunk all day/I’m getting’ drunk all night/I’ve just got to say…I’m too drunk to fuck), and then I zone out again. Crazy Bitch was the same way. Talk to Me and A Child Called It might be the only two other songs on the CD I’d give any time to. When the songs turn a bit serious, when the tone is dialed down a bit, the guitar and beats are still usually up, and they don’t mix well. Then there’s the cover of the jazz standard All of Me. Lead singer Josh Todd’s vocals don’t fit the song, the arrangement doesn’t fit the song, and the band in general doesn’t fit the song.

My recommendation would be to bypass the album and just buy a track or two from iTunes if you really feel you must.

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Listening to: Hot Action Cop - Doom Boom
via FoxyTunes

Various Artists: Nightmare Revisited (CD Review)

Worth It

If you’re a fan of The Nightmare before Christmas or of the handful of bands on this CD, then this collection is probably worth it to you. This is the NbC soundtrack performed by an eclectic assortment of bands. On one end of the spectrum we’ve got Marilyn Manson and Korn (two of the four artists I got this CD for), and on the other we’ve got The Polyphonic Spree and DeVotchKa. In between are The All-American Rejects, Flyleaf, Sparklehorse, Rise Against, Yoshida Brothers, Amy Lee (of Evanescence), RJD2, Plain White Ts, Datarock, Shiny Toy Guns, and Danny Elfman, who wrote the original score and even provided singing voices for Jack and other characters.

I haven’t seen the movie. It’s something I’ve wanted to see, but I’ve just never gotten around to it. I am familiar with Danny Elfman’s music and Tim Burton’s movies. I’m just surprised Johnny Depp wasn’t involved somehow. It’s like they’ve got some kind of weird threesome going on.

Regardless of why I originally got the CD, I’ve come to enjoy the whole thing. I only say that it’s sort of worth the purchase because movie soundtracks aren’t for everyone, especially musicals. It helps to somewhat know the plot of the movie, or you’re just listening to an odd assortment of songs.

Some tracks are purely instrumental pieces (Overture by DeVotchKa, Doctor Finkelstein/In the Forest by Amiina, etc.), and you can definitely feel Elfman in the music. He’s got a unique sound to his compositions.

It seems as though the performers, both in the instrumental pieces and those with lyrics, retain their own sound while also putting out the Elfman vibe. I obviously can’t comment on artists I’ve never heard of (Amiina, Yoshida Brothers, Rodrigo Y Gabriela, RJD2, and Datarock), but I was pleased with those I came for (the afore mentioned Marilyn Manson and Korn along with Flyleaf and Amy Lee), and I was pleasantly surprised by some groups that are very hit-and-miss with me. I only like a handful of All-American Rejects songs, and I’m adding their version of Jack’s Lament to that list. I’m only familiar with one Polyphonic Spree song, but their version of Town Meeting Song seems very consistent with what I’ve seen (they were on an episode of Las Vegas) or read about the group. It’s a very large ensemble, so we’re blessed by having each voice in the piece actually sung by a different voice.

So if you’re a fan of the movie, definitely pick this up. If you’re a fan of even one of the groups represented on the album, also pick it up. I’m sure you’ll be surprised by what else you might find pleasing to your ear balls. And if you’re just in the market for something different, it can’t hurt to give this a try. It’s definitely something different.

CSS: Donkey (CD review)

Not Worth It

I wasn’t all that thrilled with CSS’s international debut album, Cansei de Ser Sexy (which is what CSS stands for). One of the songs off the album, Music Is My Hot Hot Sex, was featured in an iPod commercial, and I fell in love with the hook. I still love the song, but it’s the only one off the album that I connected with. I decided to check out their sophomore release, though, to see if anything captured the feel of this single.

The CD was released in July of this year. Three singles have been released, the most recent being Move, which was released earlier this week. The CD sounds pretty club friendly, but less so than the previous attempt, which is what turned me off of the CD. This is a little more poppy and radio friendly. So far, though, nothing has grabbed me like Music Is My Hot Hot Sex did.

I like the lead singer’s voice. She reminds me of a less nasaly, more exotic Gwen Steffani. But it’s more solo Gwen and a lot less No Doubt Gwen, which is really turning me off.

Ultimately, I would give this album and the band in general a pass. It’s too club, too pop for me. At no time does the CD slow down; it’s constantly moving, never letting you catch your breath or just chill. If you like that sort of stuff, give it a try. It might be your thing. I’ll stick to enjoying their one song that I like.

Ben Folds: Way to Normal

Worth It

I’ve been a fan of Ben Folds earlier than I realized. When it was a single, I loved Underground, but I never knew who sang it. My acknowledgment of Ben Folds (Five at the time) was with Whatever and Ever Amen. I wore that disc down. I’d been a fan of Billy Joel and his piano pop since my mom bought Innocent Man when I was a kid, and listening to Mr. Folds brought back a lot of great memories. The main difference between the two performers, though, is Folds’ quirkiness. It’s quite infectious.

Before this latest disc came out, I’d heard his collaboration with Regina Spektor, You Don’t Know Me, played quite a bit on Comcast’s Adult Alternative music channel. It grabbed me immediately. Spektor has a slightly odd but beautiful voice that fits in well with Folds, especially on this track. I’d say it’s my favorite on the disc.

My least favorite would have to be Free Coffee. It’s just ugly. And really, no song about coffee can top the classic The Coffee Song covered by Soul Coughing.

This is a slightly above average record for Folds, but in general that’s still heads and shoulders above others. If you’ve like ANY of his other work, solo or with the Five, you’ll enjoy this.

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Listening to: Paramore - Misery Business
via FoxyTunes

Jem: Down to Earth (CD Review)

Worth It

We’ve got an odd thing going on here. I like the CD. I really do. But it’s not something that I’d listen to over and over or randomly throw in the CD player. It’s too mellow for that. I’ve either got to be in the right frame of mind, or I’ve got to be working. I don’t mean this as a slight against Jem or her music, because I am saying that the disc is worth dropping some dollars on, but for me it’s perfect background music. You might get the occasional upbeat song like Aciid (she sings in Japanese! And when she is singing in English, she sounds an awful lot like Nelly Furtado in Promiscuous Girl), her voice is just so soothing that it doesn’t make you feel anything other than calm. And even after a few spins, none of the songs jump out at me as immediately memorable (except for Aciid, and only for the Japanese bits). Yet even after what would appear to be bashing, I’d still recommend the CD. Go figure.

Gym Class Heroes: The Quilt (CD Review)

Not Worth It

Small doses, that’s how I prefer to listen to Gym Class Heroes. A song here or there, inserted randomly on my mp3 player or on a mix CD. This CD is a bit more laid back that The Papercut Chronicles or As Cruel As School Children, and it seems a bit more grown up. That might be okay for hardcore GCH fans, but for the casual listener, like myself, what drew me to them in the first place was the more juvenile tracks, songs that may be sub-par technically to these new tracks, but they were fun, fun to sing with and nod your head to. With the laid back feel and guest appearances like Estelle on Guilty as Charged and Daryl Hall from Hall & Oates (!) on Live Forever (Fly with Me) make this feel more like and R&B album than a rap one. The only two tracks I can really see myself listening to more than a handful of times are Live a Little and maybe No Place to Run, but odds are that if they did find themselves on my mp3 player, I’d probably skip to the next song.

Metallica - Death Magnetic

Worth It

First of all, I’m not a huge Metallica fan, at least not as big as my wife. But I enjoy and appreciate the classics: Unforgiven, For Whom the Bell Tolls, Enter Sandman, etc. The most recent songs I’ve enjoyed have been Whiskey in the Jar and their remake of Turn the Page. But nothing else has really made me sit up and take notice. Until now. It sounds like James and his gang have dialed it back a decade or so. It opens up with an ominous guitar, which gets loud and forceful, and leads into a driving pace set by Lars on drums. Pace-wise, they don’t slow it up much until The Day That Never Comes, track four. But the only song that could conceivably be called a ballad is The Unforgiven III, and that might be stretching it a bit. This album rocks, and it rocks hard. And while you may look at the track list and be put off by on 10 songs, keep in mind that the shortest track is just over five minutes long, with the majority being more than seven minutes long. Hell, Suicide and Redemption clocks in at 9:58! So don’t worry, you’ll get your money’s worth and then some.

Weezer - The Red Album

A quick note on my CD ratings:

Worth It – Buy it and keep it
Sorta Worth It – Worth your money, but don’t feel bad about burning your favorite tracks and getting rid of it at a used CD store
Not Worth It – Don’t even bother downloading


Not Worth It

Weezer no longer excites me. They haven’t for a while now. I loved their first few albums, but now I’m just, “Meh.” The only track I really enjoyed was Troublemaker. I feel I should have enjoyed Pork and Beans and Everybody Get Dangerous more, but they just didn’t click for me. Ultimately, the entire album didn’t click for me. It’s like the group tried too much stuff and there wasn’t anything to really tie it all together. They couldn’t decide if they were pop or rock, and when they tried to be one or the other, it all just ended up sounding fake, like they’re trying to hard. I never felt that with any of their earlier stuff, but lately, that seems to be all I hear. And everything I said about the album as a whole can be applied to The Greatest Man That Ever Lived (Variations on a Shaker Hymn). There was so much thrown into this one song (pretty piano tones under some bad rapping that moves into hard guitar, then we get a little bit of a ballad before a chorus sings above a snare marching rhythm. We get some more rock before turning a little poppy, and then the spoken word section. As individual parts, I can enjoy it, but I think the overall effect is so much less than the sum of its parts.

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Listening to: Weezer - Everybody Get Dangerous
via FoxyTunes