If you haven't heard of The Hold Steady yet, you're about to. The Brooklyn-based five piece's fourth album "Stay Positive" is yet another well-crafted and emotionally poignant album, with piano and guitar solos galore, and chorus's that you'll want to hear over and over again.
"Stay Positive" deals with more mature themes than previous release--this one is about kids growing up, and how to hang on the passion that got you there so far (hence the album title). Though they've only been together since 2004, they've made it to a great place so far in the industry. With a close following and critical success, The Hold Steady's discography is just beginning.
Their third album, "Boys and Girls in America" (2006), is a fantastic record. It tells a story, one everyone knows so well. It's a story of growing up in America, falling in love with your friends and the stupid, wonderful stuff that happens within all that.At least, I think it is.
Hey citrus, hey liquor
i love it when you touch each other
hey whiskey, hey ginger
i come to you with rigid fingers
i see Judas in the hard eyes
of the boys who worked in the corners
i feel Jesus in the clumsiness of young and awkward lovers
hey bar roommate tavern
i find hope in all the souls you gather
hey citrus, hey liquor
i love it when we come together
i feel Jesus in the clumsiness of young and awkward lovers
I feel Judas in the long odds of the rackets on the corners
I feel jesus in the tenements of honest, nervous lovers
I feel Judas in the pistols and the pagers that come with all the powders
lost in fog and love and faith was fear
and I've had kisses that make Judas seem sincere
lost in fog and love and faith was fear
I've had kisses that make Judas seem sincere
-The Hold Steady, Citrus
Boys and Girls in America
"Citrus," an acoustic moment in an otherwise quite boisterous record, is a reflective moment with just the right amount of context. Great metaphor in this song--coming together like citrus and liquor. What a common combination and what a great comparison.
I love the line this record opens on--"There are nights when I think Sal Paradise was right." Right from the get-go you know these guys must have something to say if they're referencing Jack Kerouac. And they're so good at setting scenes, references to dimly lit bars or all-ages matinée hardcore shows.
More tastes of The Hold Shttp://www.blogger.com/img/gl.link.gifteady, in all their classic rock-inspired deliciousness:
"First Night"
"Sequestered in Memphis"
Craig Finn's gritty vocals, careful meter in every verse and great blues-rock piano are a powerful combination. Though they've only been around for a few years, they've gotten a fair amount of attention from music magazines, with numerous comparisons to Ameriana rock legends like Springsteen and Billy Joel for today's kids (namely the ones that are still growing up).
Curious to see what happens in the wake of "Stay Positive," a success so far with plenty of great reviews. Hopefully, they'll retain their authenticity despite any amounts of success that come their way, because I think that's what makes The Hold Steady such a standout sound in modern indie rock.
They don't try to say anything other than what they seem to already be thinking about, and in their growing fan base, they seem to be creating the "unified scene" they keep singing about. I'm pretty sure they've even made t-shirts with the phrase on it by now. Keep singing about the kids at shows, and pretty soon they'll hear what you're saying.
Sunday, August 3, 2008
Saturday, August 2, 2008
8/2/08
I don't know about anyone else, but I can't wait to see what Rilo Kiley lead singer Jenny Lewis comes up with next.
Her second solo album comes out this September and I, personally, am stoked. Lewis fronts indie-pop group Rilo Kiley, whose 2007 release "Under the Blacklight" seemed to let down their cult of hipster fans.
The band noticeably strayed from the folk, acoustic sound that made them such a hit.
"Under the Blacklight" was a sex-infused album both lyrically and instrumentally, with everything from Latin to disco to 70s rock to candy-pop sounds.
Add in some serious themes: "Close Call" is about prostitution, "15" is about a way too young girl with a way too old man, "Moneymaker" seems to be as much about stripping as selling yourself for anything.
I thought the album was well titled--with lots of rhythm guitar, upbeat dance-able tracks and Lewis' sultry tones it's easy to envision the songs being performed in a dirty, dive bar somewhere in the middle of nowhere.
But the difference to early fans was clear. Listen to something off of "Take Offs and Landings" (2001) like "Plane Crash in C" then a track like the disco-dance track "Breaking Up" and you might wonder if it's even the same musicians.
It's not a bad record, I don't think, despite the fact it's been called a disappointment. I think it's just a different kind of record, with different kinds of stories, and frankly, I think they're good enough musicians to pull it off.
And, as we saw on her first solo album, "Rabbit Fur Coat," Lewis's voice is so well-suited for bluesy soulful drawls. It's sexy and authentic, and a more powerful sound than the breathy, nearly spoken style she often used in their other albums. The songs seem written to fit that without mimicking the Southern gospel of "Rabbit Fur Coat." Her sound changed and, thus, Rilo Kiley has changed as well.
So needless to say, I am crazy-excited for her next solo record. It's called "Acid Tongue" (!!), and I'm hoping that's exactly how it sounds.
Her second solo album comes out this September and I, personally, am stoked. Lewis fronts indie-pop group Rilo Kiley, whose 2007 release "Under the Blacklight" seemed to let down their cult of hipster fans.
The band noticeably strayed from the folk, acoustic sound that made them such a hit.
"Under the Blacklight" was a sex-infused album both lyrically and instrumentally, with everything from Latin to disco to 70s rock to candy-pop sounds.
Add in some serious themes: "Close Call" is about prostitution, "15" is about a way too young girl with a way too old man, "Moneymaker" seems to be as much about stripping as selling yourself for anything.
I thought the album was well titled--with lots of rhythm guitar, upbeat dance-able tracks and Lewis' sultry tones it's easy to envision the songs being performed in a dirty, dive bar somewhere in the middle of nowhere.
But the difference to early fans was clear. Listen to something off of "Take Offs and Landings" (2001) like "Plane Crash in C" then a track like the disco-dance track "Breaking Up" and you might wonder if it's even the same musicians.
It's not a bad record, I don't think, despite the fact it's been called a disappointment. I think it's just a different kind of record, with different kinds of stories, and frankly, I think they're good enough musicians to pull it off.
And, as we saw on her first solo album, "Rabbit Fur Coat," Lewis's voice is so well-suited for bluesy soulful drawls. It's sexy and authentic, and a more powerful sound than the breathy, nearly spoken style she often used in their other albums. The songs seem written to fit that without mimicking the Southern gospel of "Rabbit Fur Coat." Her sound changed and, thus, Rilo Kiley has changed as well.
So needless to say, I am crazy-excited for her next solo record. It's called "Acid Tongue" (!!), and I'm hoping that's exactly how it sounds.
Friday, August 1, 2008
8/1/08
Death Cab for Cutie--love songs for those who don't necessarily want to feel like that's what they're listening to.
I was slightly disappointed by the band's newest release, "Narrow Stairs." They're great musicians, but the album lacks meaning, and songs seem more written-to-get-an-album-finished than composed. The single "I Will Possess Your Heart," seems to be an exception. There's some great instrumentation, in it's full length version but compared to their old stuff,song themes seem much more easy-to-read in terms of what he's singing about. There's a lot packed in there about relationships, but most of it seems pretty regretful, or at least hopeless.
"The Ice is Getting Thinner," the last track, seems to put the nail in the "we're over" coffin. "We buried our love in a wintery grave/a lump in the snow was all that remained/but we stayed by it's side as the days turned to weeks/and the ice kept getting thinner with every word that we'd speak."
Despite the powerful moments that there on "Narrow Stairs," they seem few compared to what Death Cab did on other records. I thought their last album, "Plans" had much stronger songs as a whole.
Love of mine some day you will die
But I'll be close behind
I'll follow you into the dark
No blinding light or tunnels to gates of white
Just our hands clasped so tight
Waiting for the hint of a spark
If Heaven and Hell decide
That they both are satisfied
Illuminate the Nos on their vacancy signs
If there's no one beside you
When your soul embarks
Then I'll follow you into the dark
In Catholic school as vicious as Roman rule
I got my knuckles bruised by a lady in black
And I held my tongue as she told me
"Son fear is the heart of love"
So I never went back
If Heaven and Hell decide
That they both are satisfied
Illuminate the Nos on their vacancy signs
If there's no one beside you
When your soul embarks
Then I'll follow you into the dark
You and me have seen everything to see
From Bangkok to Calgary
And the soles of your shoes are all worn down
The time for sleep is now
It's nothing to cry about
Cause we'll hold each other soon
The blackest of rooms
If Heaven and Hell decide
That they both are satisfied
Illuminate the Nos on their vacancy signs
If there's no one beside you
When your soul embarks
Then I'll follow you into the dark
Then I'll follow you into the dark
--Death Cab For Cutie, I Will Follow You Into The Dark
Plans
This song is like the sensitive modern young guy's "I Will Always Love You," or something equally blatant. It's poetic and simple, honest and touching. Great imagery, too--you can see that neon sign in the distance, with the illuminated no. Points for comparing heaven to a roadside motel.
It's such a loyal, declarative love--i'll follow you wherever. But it's not too idealistic. After all, it is about what happens when you die. Seems to be a reoccurring theme for Gibbard. I think what's so beautiful about this song is the everlasting hope that's intertwined with death. Live a long, satisfying life full of sights and sounds, then, like tired travelers, find somewhere to stay when it's time to rest, or at least have someone to rest with. It's a nice thought. Quietly dressed with acoustic guitar, these lyrics standout like a beacon in what is otherwise a complex (read: awesome) album of interesting sounds and song development.
Now, I don't think they should've made the same record twice, but "Narrow Stairs" feels like a step backward. "Plans" was so good.
But who knows, maybe it's themes will grow on me, when the time is right for those songs to mean something, too.
I was slightly disappointed by the band's newest release, "Narrow Stairs." They're great musicians, but the album lacks meaning, and songs seem more written-to-get-an-album-finished than composed. The single "I Will Possess Your Heart," seems to be an exception. There's some great instrumentation, in it's full length version but compared to their old stuff,song themes seem much more easy-to-read in terms of what he's singing about. There's a lot packed in there about relationships, but most of it seems pretty regretful, or at least hopeless.
"The Ice is Getting Thinner," the last track, seems to put the nail in the "we're over" coffin. "We buried our love in a wintery grave/a lump in the snow was all that remained/but we stayed by it's side as the days turned to weeks/and the ice kept getting thinner with every word that we'd speak."
Despite the powerful moments that there on "Narrow Stairs," they seem few compared to what Death Cab did on other records. I thought their last album, "Plans" had much stronger songs as a whole.
Love of mine some day you will die
But I'll be close behind
I'll follow you into the dark
No blinding light or tunnels to gates of white
Just our hands clasped so tight
Waiting for the hint of a spark
If Heaven and Hell decide
That they both are satisfied
Illuminate the Nos on their vacancy signs
If there's no one beside you
When your soul embarks
Then I'll follow you into the dark
In Catholic school as vicious as Roman rule
I got my knuckles bruised by a lady in black
And I held my tongue as she told me
"Son fear is the heart of love"
So I never went back
If Heaven and Hell decide
That they both are satisfied
Illuminate the Nos on their vacancy signs
If there's no one beside you
When your soul embarks
Then I'll follow you into the dark
You and me have seen everything to see
From Bangkok to Calgary
And the soles of your shoes are all worn down
The time for sleep is now
It's nothing to cry about
Cause we'll hold each other soon
The blackest of rooms
If Heaven and Hell decide
That they both are satisfied
Illuminate the Nos on their vacancy signs
If there's no one beside you
When your soul embarks
Then I'll follow you into the dark
Then I'll follow you into the dark
--Death Cab For Cutie, I Will Follow You Into The Dark
Plans
This song is like the sensitive modern young guy's "I Will Always Love You," or something equally blatant. It's poetic and simple, honest and touching. Great imagery, too--you can see that neon sign in the distance, with the illuminated no. Points for comparing heaven to a roadside motel.
It's such a loyal, declarative love--i'll follow you wherever. But it's not too idealistic. After all, it is about what happens when you die. Seems to be a reoccurring theme for Gibbard. I think what's so beautiful about this song is the everlasting hope that's intertwined with death. Live a long, satisfying life full of sights and sounds, then, like tired travelers, find somewhere to stay when it's time to rest, or at least have someone to rest with. It's a nice thought. Quietly dressed with acoustic guitar, these lyrics standout like a beacon in what is otherwise a complex (read: awesome) album of interesting sounds and song development.
Now, I don't think they should've made the same record twice, but "Narrow Stairs" feels like a step backward. "Plans" was so good.
But who knows, maybe it's themes will grow on me, when the time is right for those songs to mean something, too.
Thursday, July 31, 2008
7/31/08
In her lacy black uniform, with her tales of gypsys and angels and loving Lindsey Buckingham more than life itself, it seems, Stevie Nicks is easily one of my favorite songwriters, definitely favorite female songwriter. Her love songs are heartbreaking, her stories are fantastical, and no one needs telling that she's got passion for what she does.
I kind of adore her, actually--though i don't think i would ever personally refer to myself as a priestess. Either way, keep doing your thing, Stevie.
This song is a lesser-known example--lots of people know Landslide or Edge of Seventeen or Rhiannon and can recognize that they're great songs in their own rights. I came across this song by accident when I worked in the city it's named for.
You could be my silver spring
Blue-green colors flashing
I would be your only dream
Your shining over ocean crashing
Don't say that she's pretty
And did you say that she loved you
Baby I don't want to know
So I begin not to love you
Turn 'round, see me running
I say I loved you years ago
But tell myself you never loved me no
And don't say that she's pretty
And did you say that she loved you
Baby I don't want to know
And can you tell me was it worth it
Baby I don't want to know
Time cast a spell on you
But you won't forget me
I know I could have loved you
But you would not let me
Time cast a spell on you
But you won't forget me
I know I could have loved you
But you would not let me
I follow you down 'till the sound
Of my voice will haunt you
You'll never get away from the sound
Of the woman who loves you
--Fleetwood Mac, Silver Spring
Silver Spring was cut off the legendary Rumours--Fleetwood Mac's best-selling album, I believe, which has sold more than 30 million copies worldwide. It's a powerful song, though, and I wonder how it would've affected the feel of Rumours.
What a meaningful line--"you'll never get away from the sound of the woman who loves you." People stay with you over the years. We fight, cry, swear to never speak to each other again, or--sometimes even more sadly--drift away in silence. But every now and then, those people can creep into your subconscious, and sometimes, they can still get under your skin.
I think, with time and moving on, those feelings can go away. But in a love affair like Nicks had with Buckingham, the moving on is relative. She captured her feelings so well in this song and many others, that her songwriting is often tragically romantic.
The last minute or so of the song is especially potent. This performance sends shivers down my spine every time, the way she and Lindsey are just staring at each other. I remember seeing the Rumours cassette tape in my mother's collection as a kid, and i can still so clearly remember staring at the cover, thinking how royal and beautiful and mysterious these musicians looked. It's easy for me to love Fleetwood Mac for having such a great balance of reality and fantasy, storytelling and personal documenting.
The story of Silver Spring, in Stevie's own words
I kind of adore her, actually--though i don't think i would ever personally refer to myself as a priestess. Either way, keep doing your thing, Stevie.
This song is a lesser-known example--lots of people know Landslide or Edge of Seventeen or Rhiannon and can recognize that they're great songs in their own rights. I came across this song by accident when I worked in the city it's named for.
You could be my silver spring
Blue-green colors flashing
I would be your only dream
Your shining over ocean crashing
Don't say that she's pretty
And did you say that she loved you
Baby I don't want to know
So I begin not to love you
Turn 'round, see me running
I say I loved you years ago
But tell myself you never loved me no
And don't say that she's pretty
And did you say that she loved you
Baby I don't want to know
And can you tell me was it worth it
Baby I don't want to know
Time cast a spell on you
But you won't forget me
I know I could have loved you
But you would not let me
Time cast a spell on you
But you won't forget me
I know I could have loved you
But you would not let me
I follow you down 'till the sound
Of my voice will haunt you
You'll never get away from the sound
Of the woman who loves you
--Fleetwood Mac, Silver Spring
Silver Spring was cut off the legendary Rumours--Fleetwood Mac's best-selling album, I believe, which has sold more than 30 million copies worldwide. It's a powerful song, though, and I wonder how it would've affected the feel of Rumours.
What a meaningful line--"you'll never get away from the sound of the woman who loves you." People stay with you over the years. We fight, cry, swear to never speak to each other again, or--sometimes even more sadly--drift away in silence. But every now and then, those people can creep into your subconscious, and sometimes, they can still get under your skin.
I think, with time and moving on, those feelings can go away. But in a love affair like Nicks had with Buckingham, the moving on is relative. She captured her feelings so well in this song and many others, that her songwriting is often tragically romantic.
The last minute or so of the song is especially potent. This performance sends shivers down my spine every time, the way she and Lindsey are just staring at each other. I remember seeing the Rumours cassette tape in my mother's collection as a kid, and i can still so clearly remember staring at the cover, thinking how royal and beautiful and mysterious these musicians looked. It's easy for me to love Fleetwood Mac for having such a great balance of reality and fantasy, storytelling and personal documenting.
The story of Silver Spring, in Stevie's own words
7/30/08
Elliott's Smith song collection has got a whole lot of heartbreak to pine along to. Folk style storytelling with John Keats-like kind of emotions--he was a fantastic songwriter.
You don't deserve to be lonely
But those drugs you got won't make you feel better
Pretty soon you'll find it's the only
Little part of your life you're keeping together
I'm nice to you
I could make it through
That you're already somebody's baby
I could make you smile
If you stayed a while
But how long will you stay with me, baby?
-Elliott Smith, Twilight
From a Basement on a Hill
There's a string break that occurs almost exactly midway in the song that makes something that was so simple seem so much more epic. It's so satisfying, and the same phrase repeats so much it's almost hypnotic. Hypnotized is how i want to feel when i'm listening to a singer/songwriter/acoustic guitar musician like Smith. i want it to be sad and dreamy and beautiful. Joshua Radin, The Spill Canvas-i think they're pretty good at it too, for their respective genres, but they lack the dusty-trail sound that Smith's got in his guitar playing.
He's got that drug chic dripping all over his lyrics, making it a tripped-up, tragic love song for the doomed-from-the-start-everyone's-down-chips kind of romance. He's got in his breathy high notes, too, and in the pop-structure chords, that hypnotic thing. Oh the 90s. You had some great stuff.
i read this book from the 33 1/3 series that reminded me "My Heart Will Go On" beat "Miss Misery" for the Oscar for Best Original Song. Caused the author of a book to write a whole book about why people care about Celine Dion, if somehow a song like that mattered more to the Academy than a sing-along-to-the-sad-story kind of song like Miss Misery.
But Smith sounds a bit different to those who got into him after his death i think. He's a learning tool for us, and while current fans may have really valued his musicianship, those listening closely might take his messages different than his fans did then. It might go for anyone whose art survives them if that's what they were well known for when they were alive--does it resonate differently to the person depending on when they became fans?
I'm inclined to say yes. John Lennon's fans when he was doing all his solo work for example, compared to those who listen to what he's saying now--taken in totally different contexts. To them, he was talking about their plights, and now, we can relate them to ours. People here are still singin' "Imagine" and "Give Peace a Chance" but it's about different issues, with even more history piled on top of what those songs stand for.
The fact we're still singing them? That's a whole other show.
Twilight, from YouTube.
Sidenote: i still don't know how i feel about people putting covers of themselves singing on YouTube. Are you trying to get discovered? Looking for advice to gauge your talent? i don't know, and i don't think there's a wrong answer but, something about it is interesting. There's fucking tons of them.
You don't deserve to be lonely
But those drugs you got won't make you feel better
Pretty soon you'll find it's the only
Little part of your life you're keeping together
I'm nice to you
I could make it through
That you're already somebody's baby
I could make you smile
If you stayed a while
But how long will you stay with me, baby?
-Elliott Smith, Twilight
From a Basement on a Hill
There's a string break that occurs almost exactly midway in the song that makes something that was so simple seem so much more epic. It's so satisfying, and the same phrase repeats so much it's almost hypnotic. Hypnotized is how i want to feel when i'm listening to a singer/songwriter/acoustic guitar musician like Smith. i want it to be sad and dreamy and beautiful. Joshua Radin, The Spill Canvas-i think they're pretty good at it too, for their respective genres, but they lack the dusty-trail sound that Smith's got in his guitar playing.
He's got that drug chic dripping all over his lyrics, making it a tripped-up, tragic love song for the doomed-from-the-start-everyone's-down-chips kind of romance. He's got in his breathy high notes, too, and in the pop-structure chords, that hypnotic thing. Oh the 90s. You had some great stuff.
i read this book from the 33 1/3 series that reminded me "My Heart Will Go On" beat "Miss Misery" for the Oscar for Best Original Song. Caused the author of a book to write a whole book about why people care about Celine Dion, if somehow a song like that mattered more to the Academy than a sing-along-to-the-sad-story kind of song like Miss Misery.
But Smith sounds a bit different to those who got into him after his death i think. He's a learning tool for us, and while current fans may have really valued his musicianship, those listening closely might take his messages different than his fans did then. It might go for anyone whose art survives them if that's what they were well known for when they were alive--does it resonate differently to the person depending on when they became fans?
I'm inclined to say yes. John Lennon's fans when he was doing all his solo work for example, compared to those who listen to what he's saying now--taken in totally different contexts. To them, he was talking about their plights, and now, we can relate them to ours. People here are still singin' "Imagine" and "Give Peace a Chance" but it's about different issues, with even more history piled on top of what those songs stand for.
The fact we're still singing them? That's a whole other show.
Twilight, from YouTube.
Sidenote: i still don't know how i feel about people putting covers of themselves singing on YouTube. Are you trying to get discovered? Looking for advice to gauge your talent? i don't know, and i don't think there's a wrong answer but, something about it is interesting. There's fucking tons of them.
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