Morning Drive - May 25, 2011



Jimmy Eat World - Clarity (1999)

Summertime, with all of its crazy weather patterns, is moving into north Texas.  Therefore, my craving for Jimmy Eat World's third album, Clarity, has increased substantially.  This band has always provided the music-listening public with quality pop rock that is consistently a notch or two above that of their contemporaries.  I, along with most I would presume, first heard the band on huge radio singles "The Middle" and "Sweetness" from the Bleed American album.  The unbelievably catchy and energetic hooks were enough to draw attention from fans of many different genres.  As a result, I became a casual admirer of the group at that point.

A few years later, as my obsession for quality tuneage began to grow exponentially, I heard about Clarity on an internet message board.  The praise I was reading simply merited a blind run-through.  Instantly, I was blown away by the power and passion of the record.  Despite its easily digestible song structures, I realized immediately that there was something extra here, something that would stick around indefinitely.

It's obviously not as crisply produced and radio-friendly as later offerings from this band would prove to be, but that's part of what endears it to me so strongly.  This thing still sparkles in all the right ways, but you can hear the subtle nuances of a band, for lack of a better term, playing music.  For example, the amazing opener, "Table For Glasses," demonstrates a simple drum pattern that plods forward beneath crystalline guitar arpeggios before crashing into an angelic pinnacle.  All the while, the layered vocals don't release at the same time on the word "fast," and I love that about the song.  The imperfections on Clarity truly add to its enduring character.

On the next few tracks, you can almost hear the popular "emo" bands of the early 2000's being inspired and influenced simultaneously.  A chilling ballad called "12.23.95" fits amazingly well into a release that feels so summery otherwise and has become a staple of every Christmas mix I've made over the past few years.  Other standouts include the breathtaking "For Me This Is Heaven," the highway road essential "Blister," and the incredible (albeit, long) closer, "Goodbye Sky Harbour."

It's a little disconcerting to know that after this release, Jimmy Eat World was released from their label.  Clearly though, that would not impede the band's locomotive of progress.  This is my favorite in the catalog, but I also admire everything they have put out since.  I recommend this to anyone who enjoys the massively appealing anthems of Jimmy Eat World, but doesn't mind a little edgy sentiment and frenzy in their music.

Musical Moments In TV/Film: Freaks And Geeks - Ripple

Freaks and Geeks is one of my all time favorite TV shows, and it's a damn shame that it only lasted one (magnificent) season.  Linda Cardellini, James Franco, Seth Rogen, and Jason Segel served as key pieces to a nearly perfect cast.  The final scene, in which Lindsay has fooled her parents into believing that she is leaving for an academic summit for two weeks when she is actually departing to follow The Grateful Dead on the road, is so well done and captures the bittersweet moment perfectly.  The use of "Ripple" here provides a stunning and memorable ending to a brilliant show.

Review: Manchester Orchestra - Simple Math

May 10, 2011
Favorite Gentlemen

 Rating:  5.9/10

The third full-length from Atlanta rockers Manchester Orchestra misses more often than it hits.  Believe me, I'm not listening for blaring originality when I put on an album from Andy Hull and the boys.  Usually, I know I'm going to get some mildly aggressive and melodic rock music.  In the case of "Simple Math," however, I find myself consistently comparing MO to the bands that clearly influenced their sound.  As much as I'd like to just sit back and casually enjoy these songs, I just can't stop myself from thinking, "wow, they are going for Built To Spill (or Nirvana, or Pink Floyd) here."

I'm not saying that a band wearing its influences on the proverbial sleeve is always a bad thing.  There are plenty of records out there that I love that are more or less homages to the history-makers of rock that came before.  It just rubs me the wrong way on this one.  Throwing in the phrase "comfortably numb"  and hitting us with a "brick in the wall" style children's chorus a few tracks later just doesn't sit well for me.

Enough complaining though, because there are some positives to be found in this otherwise mediocre batch of tunes.  "Pensacola" is a radio-friendly pop track that edges uncomfortably close to Blue October territory without ruining the song.  "Apprehension" is another solid offering that would have fit in nicely on one of the Orchestra's finer albums.  The paramount moment occurs with the raucous brilliance of "April Fool," which is a throwback to the heyday of alternative rock.  If I keep one thing in the regular rotation from this collection, it will be this headbanger.  Hull shouts at us, "I've got that rock and I roll!"  On this one, Andy, you sure do.  I just wish it appeared more often.

http://www.themanchesterorchestra.com/
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Review: The Decemberists - The King Is Dead

Rating:  7.6/10

When I heard The Decemberists play "Down by the Water" on one of the late night talk shows, I was a little torn.  I liked the song, but I distinctly remember being confused by the straightforward alt-country sound of it.  Wondering if we were going to get an album full of stripped down foot-stompers, my curiosity and subsequent anticipation for the release of The King Is Dead grew.

To be fair (or unfair, depending on how you look at it), I never even bothered listening to 2009's The Hazards of Love.  I had heard/read just too many negative reviews about grandiose, Broadway-style theatrics and overly colorful instrumentation that I just didn't take the time to give it a chance (and still haven't to this day).  So, unlike many articles I've read about the latest offering from The Decemberists, this one won't be clouded with night and day comparisons between the opposite ends of the spectrum from which the two albums were born.

Instead, I will discuss The King Is Dead on its own merits.  Besides, it's not like we've never heard stylistic changes from The Decemberists in the past (as subtle as they may have been in comparison).

First off, Peter Buck from R.E.M. plays on three tracks.  So as you can imagine, there are numerous moments in which the boys from Athens, Georgia come to mind.  While we're name-dropping the obvious influences on this record, how about Neil Young and early Wilco?  Getting the picture yet?  TKID showcases some really pretty melodies as well as some rustic tunes that rattle forward like a countryside train.  For the most part, it all fits into a nice little pleasant package.  The aforementioned "Down by the Water" features an instantly hummable melody with backing vocals from Gillian Welch.  Another highlight, "January Hymn" shows off Meloy's uncanny ability to create a simple and beautiful tune.  It's about the songs this time around, and each one has its own space to breathe. 

I don't foresee this album landing at the top of the rankings in the Decemberists' catalog (probably somewhere in the middle, in fact).  But I'm not looking to listen to a classic every time I plug in the iPod.  Sometimes I just want to hear something enjoyable; something that gets me drumming on the steering wheel.  The King Is Dead does the trick.  Highly recommended.

Review: Okkervil River - I Am Very Far

May 10, 2011
Jagjaguwar

  Rating:  7.8/10

The Austin based Okkervil River has done it again with the recently released I Am Very Far.  With a back catalog that includes indie treasures such as Black Sheep Boy and The Stage Names, this band consistently proves that they just don't release bad records.  Frontman Will Sheff has one of the best voices in rock 'n roll, ranking right up there with the ambling tenor of Jim James and the refined baritone of Matt Berninger.

The beginning of this particular release is fairly jagged and disjointed, I'll admit.   It does its best to immediately grab you by the shirt collar with the uptempo stomp of "The Valley" before sauntering into a throw-away of sorts and a Springsteen imitation.  While these tracks are not bad by any means, things really get going for me at the album's mid-section.  The churning balladry of "Lay Of The Last Survivor" displays Sheff's traditional sense of melody and ability to deliver a charming vocal.  "White Shadow Waltz" is a definite highlight that ventures into the majestic sounds of touring companions, Arcade Fire.  It's a regal sounding tune, complete with plodding guitar lines, spastic percussion, and orchestral flourishes.  Another goosebump worthy moment occurs a few moments later on the quietly beautiful "Hanging From A Hit," which will go on to rival some of the most dramatic moments from past Okkervil River collections.  As the album's pinnacle slips a little further into the rear view, you will still be engaged and enthralled as you drift towards the floating finale. 

Where this album will rank amongst other offerings from this band is hard to predict.  The aforementioned Black Sheep Boy (and appendix) and The Stage Names are some of the most frequently revisited records in my entire collection.  While there may not be any individual songs that could go on to top "Singer, Songwriter" or "Lost Coastlines," I would proclaim that Far is more consistent from front to back than The Stand In's.  As any fan of OR will tell you, that's really high praise.  This band can do no wrong.

http://www.okkervilriver.com/
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Musical Moments In TV/Film: The Mysterious Cities Of Gold - Theme Song

As a kid, I loved many of the same classic 80's cartoons as the next guy.  Teenage Mutant Ninja Turtles, Transformers, He-Man, Thundercats, etc. all spent their fair share of time on my 19" Magnavox screen.  I also liked some of the more obscure stuff like Danger Mouse, Hair Bear Bunch, and this gem, The Mysterious Cities Of Gold.  This was a Japanese-French show that featured a Spanish boy named Esteban, and it ran from 1986-1990 in the U.S. on Nickelodeon.  I remember it having a really interesting storyline, and my internet digging in recent years confirms that this show has quite the cult following.

Anyway, the point of this post is to highlight the greatness that is the theme song for this childhood treasure.  It reminds me of some of the other great theme songs of the era including David The Gnome and Gummi Bears. Tell me this isn't dripping with overly dramatic 80's pop goodness.

Wilco - Live at the University of North Texas, Denton (May 7, 2011)

When I found out that one of my favorite bands was going to be playing in a building that I had class in at one time on the campus of the University of North Texas, I was beyond psyched.  What I didn't predict, however, was that the Auditorium Building in all of it's vintage glory would be as hot and stuffy as a summer sauna on gig night.  Which concert promoter thought it would be a good idea to cram all of these people into this place without selling concessions?

All in all though, this bothered me up until downbeat on Wilco's set.  By the middle of "Ashes of American Flags," I had forgotten all about the uncomfortable conditions.  The small crowd was treated to some of the best rock and roll going these days featuring some incredible guitar action from the always impressive Nels Cline.  Jeff Tweedy joked about the hilariously unnecessary metal barricades that had been placed a few feet in front of the stage.  "We're probably going to be arrested for inciting fun."

This was only my second live Wilco experience, but it didn't disappoint in the slightest.  Highlights for me included "Via Chicago," "Handshake Drugs," "Shot In The Arm," "Impossible Germany," and "Airline To Heaven."

Musical Moments In TV/Film: Almost Famous - Tiny Dancer

I claim this movie as my all-time favorite, and this is one of the best scenes.  This is a great film for any music lover, so check it out if you haven't already.  "I have to go home."  "You are home."

Morning Drive - May 3, 2011

The Gaslight Anthem - Sink Or Swim (2007)

It was as if my 2006 self visited me and offered to take me for a ride; a road trip over past days and miles of countryside.  Bound for the northeast; in a classic car with outlaw cowboy bands on the radio, we cruised into New Brunswick, New Jersey.  Stepping over cracked sidewalks surrounded by sprawling tufts of weeds, we arrived at a run-down old warehouse building near the river.  Upon further inspection, this particular edifice was serving as a rehearsal space.  Turning back a section of rusty and dusty chain link fence like the first page of the best book I’d yet to read, we approached to the sounds of muddled yet melodic Americana-flavored punk rock.  Crouched against an aging brick wall beneath windows that had seen far too many tossed stones, I was told to listen up.  A band that my current self already loved and had inversely introduced me to the influential albums of their predecessors was here, getting their start.

That’s what Sink Or Swim sounds like.

Morning Drive - May 2, 2011

Wilco - Yankee Hotel Foxtrot (2001)

Based on the news-worthy events of the past 24 hours, I thought a spin of this album would be appropriate for this morning's rainy commute.  I won't beat you down with tired proclamations about never forgetting 9/11, but I will fill you in as to why this record hits home in an almost eerie fashion today.

Originally scheduled to be released on September 11, 2001, record label issues prevented YHF from being available to the masses until a week later.  Without getting too detailed about the brilliance of this album musically (my top album of the 2000's), it was somewhat of a departure from the traditional alt-country sound of Wilco's earlier works.  Hints and traces of Dylan, Radiohead, Pavement, and damn near everything in between can be felt throughout.

Now, I have always had a sort of melancholic fascination with that particular day in history.  I watch every documentary I can find on the anniversary each year.  I remember where I was when I found out (walking through the Student Union at UNT).  I remember where I went to eat after I found out classes had been canceled (Sweetwater Tavern in the Denton square).  What I wasn't aware of at the time, however, was that there was a critically acclaimed album floating around that featured some strange parallels with this infamous day.

The cover is adorned with two large structures from the Chicago skyline.  A lyric in the masterful song "Jesus, Etc." illustrates "tall buildings shake, voices escape singing sad, sad songs," and "skyscrapers are scraping together." Another passage from earlier in the recording states "It's a war on war, you're gonna lose."  Although contextually irrelevant, these isolated phrases paired with the intended release date make for some pretty crazy coincidences.

And just to kinda bring things full circle here, I am also lucky enough to have tickets to Wilco's concert on Saturday taking place at none other than the UNT Auditorium building in Denton.  So yeah, this was a good choice for today.  "I would like to salute the ashes of American flags."