The Year That Was 2009 pt 1

I've been neglecting the blog lately and want to get back into posting so to start up again I'm going to subscribe to the "Out with the old and in with the new" routine. My first two posts of 2010 will be to review the year that was 2009. The first post is music and the second is everything else.

2009 was a year of big hype and modest pay offs in music. It was the year the King of Pop died, ironically sparking a career re-evaluation as audiences were able to separate the music from the person. It was the year of Glambert and Susan Boyle keeping reality tv's foot in the door of pop music. It was the year of free live concerts streaming on the internet. It was the year people went gaga for Gaga and told Kanye he's heartless. Maybe he was upset that it was the year of Taylor Swift, the lanky Country teen dominated everyone and everything else in her path.

For me personally it was the year I completed my Top 100 Favorite albums posts. It only took what, two years? I'm big on lists though, as my wife says I have lists of my lists. And true to my self, here's more lists-

To start things off, here's my Top 5 favorite albums of 2009:

5. Matthew Sweet and Susanna Hoffs - Under The Covers Vol. 2 / Chickenfoot - Chickenfoot (tie)

When old timers pool their talents, sometimes they can come up with something a little fresher than if they worked on their own. Fan that I am of Matthew Sweet and of his first pairing with the lead Bangle (2006's Vol 1.) I anxiously looked forward to this set of 70's covers. And fan that I am of Saint Sammy, how could I resist a combo with guitar god Joe Satriani, ex VH Mike Anthony and funky drummer Chad Smith? In both cases, the teams came up with solid discs touched with earnest excitement and heavenly bright spots. Sweet and Hoffs were a little more mechanical this time out than on their first combo yet still found magic in well worn power pop(Raspberries, Todd Rundgren) and classic rock (Rod Stewart, Yes) scripture. Meanwhile AOR geeks rejoiced, basking in the glory of hard hitting guitar driven grooves ("Soap On A Rope"), high flying rockers ("My Kinda Girl") and power balladry ("Learning To Fall") that's Hagar's stock in trade.

4. U2 - No Line On The Horizon

The Irish quartet returned to save the world again with their most subdued effort since...The Unforgettable Fire (1984)? I was turned off by the weak techno pop lead single "Get On Your Boots" which turned out to be the hardest rocking thing on the album. That's not to say No Line is a bad album, it's actually pretty good. The dream reteaming of producers Brian Eno and Daniel Lanois ensures the dreamy atmospherics envelope everything in its path, creating a disc that is as grey and cloudy as its album cover. Though "Moment Of Surrender" is a nice ballad, I found myself really digging the clunky rocker "Stand Up Comedy" in addition to the classic U2 flag waver "Magnificent" and the catchy "I'll Go Crazy If I Don't Go Crazy Tonight". But U2's quiet ways were too mysterious with their mass audience leading to weak sales. Wonder if they'll bring back the thunder next time out?

3. Pearl Jam - Backspacer

When I first picked up this disc I was somewhat disappointed that it seemed a little weak lyrically and that they had removed the anthem rock element they just reclaimed on '06's self titled album. A little after that I was notified I would be losing my job and this album took on special meaning to me. The enervated vibe, open ended lyrics and classic Vedder clenched teeth me-against-the-world delivery provided the motivating soundtrack to a month of hell. I've already gone on about this album in other posts so I'll end it by saying my feelings about this disc has increased greatly since my initial review of it.

2. Dave Matthews Band - Big Whiskey and the Groo Grux King

For most of the past decade, Matthews seemed to be on the run from his own band - creatively that is. DMB brought in producers to try to swerve the sound away from the intricate jam band tendencies they built their name on. But the passing of saxophonist Leroi Moore seemed to change all that and as a result we got the loosest, grooviest DMB disc in ages. The slam bang breezy rock of "Why I Am" was a highlight on an album packed with the natural, tight and instrumentally impressive music that made DMB famous. Other highlights included the gently loping "You and Me", the Cameo "Word Up" send up "Shake Me Like A Monkey" and the Lillywhite Sessions reminiscent "Lying In The Hands Of God". Of studio albums, this was the best of the year. But I'm not done yet...

1. Tom Petty and the Heartbreakers - Live Anthology

I debated over whether or not to include this, seeing how its an anthology of performances spanning back to the 70's and not a disc of new material. It's just I'm so blown away by this set (if I had done a separate post to review it Dixie would have given ten barks) that I feel compelled to include it. This is an outstanding set, five discs in all, of live performances taken from all phases of Petty's career with the Heartbreakers. Big hits, deep cuts, covers and what not are sewn together to form the facsimile of a live concert. Each song features a strong emotional performance and stack together to form something greater than the sum of its parts. This is one of the best box sets I've heard, it captures a spirit of the different facets of a brilliant artist better than most other box sets and does it with live cuts. I was lucky to get this set as a gift and even though I haven't watched the DVDs that came with it yet I will say that if you have the money to spend on this, it's well worth the price.

And now, my Top 10 songs of 2009:

10. The Lonely Island "I'm On A Boat" and Bruce Springsteen "The Wrestler" (tie)

Is having a tie a way of cheating so I can include an extra song or album in a countdown? Yup, and that won't stop me either. Comedy rappers The Lonely Island floated in "I'm On A Boat" early in the year and I turned a deaf ear to it until it was featured on a mash up with the movie Ponyo. I haven't gotten the song out of my head since then, with my flippy floppys while you're at Kinkos straight makin' copies! On the other end, The Boss provided a song for a movie soundtrack finding him in grumbly acoustic serious guy mode. He captures the soul of a beautiful loser perfectly. Technically this song is from 2008 but since I didn't listen to it until I bought this years Working On A Dream album I'm including it here.

9. Green Day "21 Guns"

All in all, I found Green Day's heavily hyped follow up to their modern classic American Idiot to be a fair but bloated affair. Except for a handful of cuts, one of them being "21 Guns" with its steady march beat and defiant chorus. Never did figure out what the song is actually about, after watching the overblown video for it I went off the song for a little while. I went back to it later, when you get to brass taxes I just like the beat and melody here.

8. Foreigner "Can't Slow Down"

A full review is to follow of the new Foreigner disc I got for Christmas. There's a lot of slow numbers on the new one, but the opening cut is a hard charging rocker that shares its title with the album. The current lead singer gets his Lou Gramm on (Grammophone?) to great affect as the guitars hammer onward to a charged anthemic chorus. A slice of AOR awesomeness on a stick.

7. U2 "I'll Go Crazy If I Don't Go Crazy Tonight"

Easily the catchiest tune on the recent U2 effort, you know a song is listener friendly when you hear it playing over the sound system of Home Depot while you shop for bricks. In one of those lazy susan musical influence deals, "Crazy" bears some resemblance to the sound Coldplay has employed to amazing success, the sound that borrows a lot from Radiohead and U2. What came first, the chicken or the egg? Either way, this is a pleasant pop rock feel good song.

6. Franz Ferdinand "No You Girls"

New new wavers Franz Ferdinand went from future stars to yesterdays news in a heartbeat between their first and second albums. On their third disc a desperate move (infusing their angular guitars with techno dance sound effects / beats) paid off with strong results peaking with "No You Girls". Balanced on a groove that is almost disco, the Scottish quartet bring the alternative rock cool on and back it up with a killer hook. The chorus has me flashing back to Greg Kihn's "Jeopardy". Normally I hate when a song is referred to as "hip". Franz Ferdinand justifies use of that word.

5. Dream Theater "The Best Of Times" (pts 1 and 2)

My favorite song off the musically spectacular but lyrically insipid DT disc Black Clouds and Silver Linings. The heartfelt intent of the words to "The Best Of Times" (not to be confused with the Styx song) about a man thanking his dying Dad is enough to overcome the maudlin sentimentality of the piece. Best of all, the proggy metalheads weave a tight fabric of instrumental virtuosity that pays off with a stunning John Petrucci guitar solo at the end. It's epic in all the right ways that make Dream Theater great.

4. Mandy Moore "I Could Break Your Heart Any Day Of The Week"

Unlikely 70's inflected pop from a former teen queen Britney Spears type singer, Mandy Moore hauled in a hand clap beat and cheap keyboards to finesse a tune that would have sounded right on an AM radio channel in 1973. And I'm a sucker for songs that use the days of the week in the chorus (see "Seven Days" under Sting for details). Amid the heavy clutter of machines and calculated marketing moves that make up modern pop music, Mandy Moore sounded like a breath of fresh air in '09. And yes, this is the same girl who once sang "Candy" and starred in those teen romance movies.

3. Bon Jovi "We Weren't Born To Follow"

OK, you're Jon Bon Jovi and you think: you know what a new Bon Jovi album needs? "Born To Be My Baby" with different lyrics! Yes, that's precisely what was needed Jon Bon Jovi. That sir, is why you earn the big bucks. Musical cop out that it is, I freakin love this song. Maybe it was the timing, I certainly could use encouraging music from a familiar artist. "We Weren't Born To Follow" (just noticed this title even has "Born" in it!) hit home and meant a lot to me. And thank you Richie Sambora for redoing that guitar solo.

2. Lady Antebellum "Need You Now"

Well look at that, I picked a Country song for number two. My cousin gave me the debut album which I thought was decent pop rock done Country style so when their new song for their second album popped up I gave it a shot. Well, I was floored by how good the new song is. A straightforward pop rock duet rendered nicely with able vocalists. Sure, this is about as Country as say Restless Hearts "When She Cries" (meaning its not) but that's fine with me, I don't listen to hardcore Country. This is like Starship's "Nothings Gonna Stop Us Now" for the new millennium. Which I guess isn't that new anymore since we're up to 2010.

1. Matthew Sweet and Susanna Hoffs "Go All The Way"

Duets are us it seems, Sweet and Hoffs Marvel Team Up hit a home run with their cover of The Raspberries / Eric Carmen classic "Go All The Way". The revved up guitar riff and intertwining voices make for audio ecstasy thanks to an inspired performance by the dynamic duo. It may also help that my copy of the original song sounds like crap even though it's from a Time Life collection. Anyway, this cover encapsulated everything that makes the pairing of these two great. (The only place I could find the song online is their myspace page, you have to click on the song to play)

2009, so glad its gone. Next is the year in movies, tv and whatever else I can think of media related. Vampires you say? That is so last year and I hear they suck.

A Big Shot Of Whiskey

Rating:

and a half

This week I've been playing Dave Matthews Band's recent release Big Whiskey and the Groo Grux King after doing that post about their albums. Listening to all that DMB put me in the mood to hear some new stuff from them. The album is dedicated and features playing from their late saxophonist, LeRoi Moore, who is the Groogrux King that's being referenced in the title from what I understand. So there's definite emotional power in the record, but how does it sound?

After spending much of the 21st Century trying to augment their sound with producers, Big Whiskey is the most natural DMB release in some time. Not to say it wasn't produced, Rob Cavillo (Green Day) boosts the punch of the their grooves to hit harder than normal. The virtuoso instrumentation and synergistic jams are well represented, the band seems at their loosest and vibrant point in the recorded work since 1998. Understandably, the songs have to do with death, mourning and questioning why life is the way it is. What's surprising is instead of striking a depressing tone like The Lillywhite Sessions, the vibe moves between melancholy and bright.

And Matthew's delivers some of his hookiest material in a while. For me the highlight is the rambunctious "Why I Am" with it's fast paced beat and catchy slowed down chorus. The lead single "Funny The Way It Is" caught on with me more this week, the lyrics about somebody going hungry while someone else is going out to eat and how someones heartbreak can be someone elses favorite song rung true. "Alligator Pie" highlight's the group's musical interplay while "You and Me" brings the disc to a light close.

Guitarist Tim Reynolds has a good measure of presence on this album, adding some bristling solos to compete with the horns and violins in the DMB arsenal. The band's performance is strong, so strong that even lifting the Cameo "Word Up" riff in "Shake Like A Monkey" comes across as inventive.

Big Whiskey and the Groogrux King is a very good Dave Matthews Band disc, the material is up to par with some highlights and their performance is spot on. For me, this is their best album since Under The Table And Dreaming, the band sounds as sharp as ever. It is sad that a band member has passed away, presenting an album this strong featuring the sax playing at the beginning and end of the disc provides a good memoriam to their fallen comrade.

So Much To Say So Much To Say So Much To...

What would you say? To a monkey in a tree?

I'm pretty sure that's how the tune goes, the first time I (and probably others) first remembered hearing the plainly named Dave Matthews Band. That song, "What Would You Say", was all over the radio. The barroom call and response gang chorus. That zippy harmonica solo. And an odd voice that seemed like a man struggling with a speech impediment, winsome with weird emphasis on the less obvious syllables. Over the next two years I would hear more DMB without realizing it, in the background at work or on the radio. It wasn't until a friend let me tape the first two albums off him that I found out how many songs I had heard. My wife became a bigger fan than me and we ended up getting a lot of DMBs albums.

Dave Matthews Band is a band that I like, but it's a more casual kind of like which should make this post interesting. I don't know a lot of trivia about the group and their music, just general stuff, and I wouldn't stake a lot of faith in the veracity of it. Still, I think it will be fun to sort through the DMB Cds I have blindly so I'm not going to look up any facts. I'm just going with what I think I know along with what I know I feel about their music.

Under The Table And Dreaming (1994)

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When I heard a full Dave Matthews Band album (it was actually Crash) I thought it was pure genius. Having worked retail a lot, particularly in the '90's, I had heard a LOT of new age music. The natural instruments strumming and twittering and fluttering to a peaceful groove. It was very popular. And here was a group that put melody and some pulse to it yet retained that natural aesthetic. It could not miss. And it didn't. Their major label debut, Under The Table And Dreaming is my favorite of their discs. It has a lightness to it, maybe an innocence, that I felt faded with each successive release. The big hit "What Would You Say" is here of course. Other hits like the catchy "Ants Marching" and "Jimi Thing" were all over radio waves at that time. "Satellite" was a nice lilting slow song that was a precursor to "Crash Into Me" and I love that head bopping opener "The Best Of What's Around". Elsewhere on the album the group plays with dynamics whether it be softly ("Typical Situation") or more urgently ("Dancing Nancies") to strong effect. All of the groups elements play well, the dexterous rhythms, slashing violins and squirrely saxophone topped with Matthew's distinct voice. A really good album that reminds me of working and my first year of marriage in my 20s.

Crash (1996)

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Crash was the first DMB album I had. I liked it and it contained my favorite Dave Matthews Band song, the hit "Too Much". It just works for me with it's high speed jittery groove and clattering percussion while Dave Matthews lists off the things that are just...too much! The other hit, "Crash" or later called "Crash Into Me", has become a modern standard of sorts and dominated adult contemporary for years. Pretty impressive for a song whose lyrics say something about asking for a skirt to hike up so a girl could "show your world to me". Much of this disc sounds good yet only a handful of songs stick in my head past playback. Hearing today I noticed how much Matthews likes childhood rhymes and onomatopoeia in this one ("Crash", "I'm the king of the castle and you're the dirty rascal", "monkey see monkey do", "Splish splash") which gives a sort of idiot savant effect. Fond memories of listening to this in the car while driving with my wife around this time though. The hits anchor a solid follow up to Table, the arrangements seem a little denser and the last part of the disc is a slightly darker in tone than their debut. A hint of what was to come.

Before These Crowded Streets (1998)

Often pointed to by critics as their best album, I can't say I feel the same about it. Becoming increasingly dark and dense, after the relatively happy sounds of the first two CDs this overplayed its take-me-seriously vibe for me. Fusing what I think are middle eastern melodies with their trademark limber grooves was a clever touch. And some of the brighter moments like "Stay (Wasting Time) and the jazzy "Crush" are terrific. The arrangements were more expansive allowing for the DMB to cut loose and add texture with a touch of dissonance, by many rights this is a very good disc. What didn't work for me is that some of the seriousness is overdone, like on the gargling vocal for "Don't Drink The Water". "Halloween"? Matthews tries for desperation but sounds like a man stuck in an elevator desperately trying to make it to the toilet on the next floor before it's too late. And longer instrumental breaks means a sacrifice in pop pleasure. The band's playing showed progression though, they come across even more supple and virtuosic than before - no doubt cementing their status as THE jam band of the 90's (though I'm sure fans of other groups like Phish would dispute that claim).

Dave Matthews and Tim Reynolds - Live At Luther College (1999)

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Dave Matthews unplugged? Is that possible, isn't his band more or less unplugged already minus the bass guitar? It turns out his songs could be stripped down more, pairing up with guitarist Tim Reynolds, Dave Matthews shows that his songs aren't just new age novelties by doing them with just acoustic guitars. This is a very good double CD with Matthews committed performance keeping together the structure while Reynolds solos all over like a madman. All of the various moods of Matthews shines in this setting. Too bad when I saw these two live at a Bridge School Benefit concert Matthews was in poor condition (he had a frog voice he said came from too much partying) which made hearing their performance of these arrangements a disappointment. Although Tim Reynolds kicked major ass that night. I'm still hooked on their rendition of "Tripping Billies". For some reason I think my wife lost interest in Dave Matthews after this album (which I remember her liking), the ones we got afterwards were picked up by me. I'll have to ask her what happened.

The Lillywhite Sessions (2001)

Controversy doesn't hit DMB often (except for that time they inadvertently dumped their crap from a bus onto a boat below) so there was a lot of talk when recording stalled while recording with longtime producer Steve Lillywhite. At this point, I can't remember what caused the sessions to fail. Bootlegs abounded of these sessions. The recordings do sound unfinished, which makes it even more of a curio (the vocals are dry, the drums way up front with the other instruments pushed down in the mix). The songs from these sessions seem very sad with Matthews yearning, moaning and moping to slow grooves. Many of the lyrics refer to rain and death and other hints of a cloudy day in Matthew's mood. It's almost funeral in parts (I'm listening to the ten minute dirge "Bartender" right now) and stands in stark contrast to the bulk of their recordings. The Lillywhite Sessions may have been the most famous ditched recording since Prince's Black Album. And like Prince, the unreleased album was shelved in favor of a sunny, happy sounding disc.

Everyday (2001)

When a talented band stretches out musically on record the next album often finds that same band tightening their belts. True to form, Dave Matthews Band reined in the arrangements from Before These Crowded Streets to emphasize pop song craft on Everyday. The renewed focus makes for their most disciplined album, the most traditional pop I've heard them do. DMB was rewarded with hits that would become VH1 classics (that now probably play on VH1 Classic). The scrambling "I Did It" I liked a lot and reminded me a little of "Too Much". "The Space Between" was another smash ballad for DMB in the same vein as "Crash Into Me" or "Satellite". And the loping title track had a warmth and lightness rarely seen since Under The Table And Dreaming. Beyond the hits, "So Right" heady hook stuck and the rest passes by pleasantly. Overall just an OK album for me, it plays almost like a solo album as the group is straight jacketed into providing accents to Matthew's tunes instead of enhancing them. At the time of release I liked it much more.

Busted Stuff (2002)

Like a scab that don't feel right until it's picked, Dave Matthews and Band returned to the songs abandoned from the Lillywhite Sessions. Given the additional time, the songs are tighter and more developed than the bootlegged recordings. It strikes a better balance between the mope and the tuneful coming across less whiny. No more lengthy moaning to a slow marching beat. Having said that, this is the DMB album I remember the least. I played it a lot (as I find I do with each one of their albums I get) and still can't recall much. The meditative single "Where Are You Going" (not from the Lillywhite Sessions) I remember liking. Also the instrumental "Kit Kat Jam" was a favorite track from this album. Listening to the Band be more involved with the music as opposed to the production heavy Everyday was nice too. But compared with the dragging depression from the Lillywhite Sessions, the music is less distinct even while it is more listenable. Did bootlegging hurt the reaction to Busted Stuff? Maybe. But the bootlegs showed a side to the band not seen elsewhere in their catalog, even if I wouldn't want to hear it often. (though I should note I haven't listened to their new disc yet, dedicated to their late saxophonist LeRoi Moore).

Dave Matthews - Some Devil (2003)

I don't have this album and haven't heard anything from it other than the single "Gravedigger", a song that didn't do much for me. Well, to be honest I hated it. So I don't have anything to say about this. Maybe I'll give this disc a chance some time if I spot it in the $3.00 bin. Combined with Busted Stuff this is the more fallow period for me personally, I wasn't digging his stuff as much.

Stand Up (2005)

DMB hooked up with a hip hop producer I think, if I remember right. At any rate, there's a definite focus on beats with Stand Up. There's also a return to the happy go lucky feeling they are great at (and may be why I didn't respond to Busted Stuff or "Gravedigger"). Singles "American Baby" and "Dreamgirl" both had hooks and uncluttered arrangements that shone brightly. The haunted ballad "Out Of My Hands" was a favorite of mine. "Old Dirt Hill (Bring That Beat Back)" also contained a smooth melody and sense of reverie. There seemed to be a mild political slant to the songs, "American Baby Intro" and "Everybody Wake Up (Our Finest Hour Arrives) paint a picture of pending chaos (the songs remind me of the Iraq War and suicide bombers) that people should "Stand Up" to. Some of the pop discipline of Everyday returns just not to the point that band members get squeezed out of their share of time. This also had Matthew's hookiest writing since that 2001 effort, many of the tunes are memorable and fun. I liked this album a lot and played it often in 2005 on the way to work, a car stereo favorite.

Dave Matthews Band released a new CD this year I have yet to check out, Big Whiskey and the Groo Grux King which is supposed to be pretty good. I'll get around to nabbing it sooner or later. I did get the free download of the first single (which means I get like a newsletter every week of what Dave Matthews does now) and "Funny The Way It Is" was ok. After spending a day listening to DMB, I think I like them a little bit more and will play them more often.

Midnight Madness - Watchmen Edition

Someone is going after the Watchmen while engineering a secret plot involving huge corporations...is it Rupert Murdoch?

Who Watches the Watchmen? - Maybe no one, if Fox has their way. Fox has a lawsuit against Warner Bros claiming only Fox had the right to distribute the movie legally. Being sick, I finally took the time to read the comic (it was released in the 80's) and thought it was a fine piece of work. Too much money has been spent for it not to come out in some way eventually, but it will still be a bummer if Warner Bros theatrical release gets blocked. It's enough to make a guy head out to Mars or something. The movie trailer looks awesome.

Saxophonist Leroi Moore of Dave Matthews Band - Passed away this week at age 46. I'm a casual fan of DMB and think they're excellent musicians, very sad news.

Harvester of Sorrow - James Hetfield of Metallica erected a barbed wire fence on his land, blocking access to a popular public trail in Marin county. It's just not Metallica if they don't make somebody mad.

"The Day I Tried To Live"...no," The Day The Earth Stood Still"...um...what? - Metallica's new song (hold on, I'm going to look up the title now) "The Day That Never Comes" is on the Internet and now that I've heard it, I'm really optimistic about the upcoming record. Many classic pre-Black album traits ran throughout the track meaning we might really get an album along the lines of Ride the Lightning or Master of Puppets. That's probably a little too optimistic, I thought the song was strong but not the greatest thing ever made by mankind. But definitely a step in the right direction.

Turn up the Power WalMart Shoppers! - Release dates are set for the new AC/DC album Black Ice (release 10/20) and the lead single "Rock & Roll Train" (release 8/28). I was surprised to see some reporters listening to the album in advance to report the new album sounds like classic AC/DC. Isn't that what every AC/DC album sounds like? That's why I buy it!

Watchmen Trailer