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Posts Tagged ‘Bob Dylan’

By Joel Francis

Radiohead – Hail to the Thief (2003) Radiohead’s sixth album is only disappointing in context. After blowing everyone’s minds with the Kid A/Amnesiac companion albums, musical expectations were ratcheted to the stratosphere to expect the unexpected. When the band revealed the album’s title, disenfranchised liberals hoped for a political burn that would send a person who occupied the White House despite losing the majority of the votes and his ginned-up war scurrying back to Texas. Spoiler: Neither happened.

Instead fans were treated to an album where guitars are played like guitars, drums are played by an actual human being and songs follow a conventional verse-chorus-verse structure. The band hasn’t turned the amps up this loudly and rocked out since Thief, which makes singles “2+2=5” and “There There” seem even more momentous in retrospect. Meanwhile, “The Gloaming” and “Backdrifts” nod to the Kid A/Amnesiac era. Nearly two decades on, it is easier to enjoy Thief for what it is and soak up its rich rewards.

Red Garland Trio – Groovy (1957) Confession: I bought this album based entirely on the cover art and the cred pianist Red Garland built playing in the Miles Davis quintet with John Coltrane. Paul Chambers and Art Taylor, the rhythm section for this album, were also members of Davis’ group. So what you have here is Davis’ band, minus the horns. Because they performed together so often, the trio are able to swap lines and support each other without breaking a sweat. The songs consist of standards, such as “Willow Weep for Me,” pop songs like “Will You Still Be Mine” and an original Garland blues, “Hey Now.” It might not be an ambitious selection, but the results are superb. In this case, my instincts served me well. Groovy is a 40 swinging minutes of amazing piano jazz.

A.C. Newman – Get Guilty (2009) The engine behind the New Pornographers gives himself a little more space to stretch out on this solo album. There are still tons of big hooks and bright power pop melodies, but Carl Newman sounds more relaxed and confessional here. Get Guilty is the second of Newman’s three solo albums to date and the fact that he still has the ability to craft these albums while doing the majority of the songwriting for the New Pornographers speaks to his prolific pen. Tellingly, Newman hasn’t released a solo album since Dan Bejar, the other songwriter in the Pornographers left the group. However, I have little doubt that Newman will lay another beauty on us at some point, and it will be worth the wait.

Bob Dylan – Live 1975: The Bootleg Series, Volume 5 (2002) Well before the sleight-of-hand Netflix documentary, Bob Dylan gifted his fans with this gift of the best moments from the first leg of his Rolling Thunder Revue tour. The performances are comfortably ragged and delightful. The set charges hard out of the gate with three reworked, electric numbers. “Tonight I’ll Be Staying Here With You” tears like a locomotive. “It Ain’t Me Babe” sways like a gypsy waltz. Best of all is a hurtling “A Hard Rain’s A-Gonna Fall.” If Dylan was a prophet standing on the city wall, warning the people below on the original acoustic version, here he is Paul Revere, tearing through the countryside, shouting his message. The rest of the music isn’t as revelatory, but fantastic. The ensemble airs performs two-thirds of Desire, Dylan’s most recent album, including “Sara,” an autobiographical love song to his wife, with her listening from just off-stage. The acoustic material and duets with Joan Baez are fine, but nowhere near as intimate as what crowds were treated to on the first set of the 1966 tour documented on Bootleg Volume Four, or the 1964 show documented on Bootleg Volume Six. That said, Live 1975 is not only an essential Dylan document but a fun listen. I turn to it often.

Husker Du – Savage Young Du, LP2 (compilation) The second album from Numero’s four-record collection of early Husker Du starts with the band’s first single and features many unreleased live tracks recorded at various Minneapolis clubs in 1980. You can hear the songwriting start to sharpen a bit here as the music remains at full volume and throttle.  We discussed other albums in this eye-opening box set on Day 3 and Day 40.

Yo La Tengo – I Am Not Afraid of You and Will Beat Your Ass (2006) The New Jersey-based indie rockers have made a great career combining long noisy adventures with intimate ballads. For their 11th album, the noisy tracks bookend the shorter, poppier numbers. The nearly 11-minute opener “Pass the Hatchet, I Think I’m Goodkind” sizzles on James McNew’s bassline. From there, I Am Not Afriad hops from the horn-driven pop of “Beanbag Chair” to the falsetto of “Mr. Tough” and through a few other songs before landing on the nine-minute, soothing ambience of “Daphina” almost halfway through. At 15 songs and 77 minutes, I Am Not Afraid sometimes feels too long, but none of the songs are filler. Think of it like an album with a bonus EP buried in the playlist. If you haven’t heard Yo La Tengo, this is as good a place to start as any.

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By Joel Francis

Insurgence DC – Broken in the Theater of the Absurd (2019) Insurgence DC formed in the late ‘80s, but Broken in the Theater of the Absurd is just their third album, arriving 19 years after their previous release. The Washington D.C.-based punk trio has plenty to say about the corruption and incompetence they see around their hometown. Reading the lyrics printed across the back of the album, one could be forgiven for thinking she was looking at a Billy Bragg broadside. What keeps songs like “Poison Profits” and “Third Party Opinions” from being op-ed pity parties is a well-seasoned band that plays well off each other and knows how vary textures and arrangements to keep the music fresh. The aggressive songs are tempered by flourishes of avant noise (think Sonic Youth), post-punk moodiness and the gleeful ska of “Pick Pocket Pirates.” Fans of the Dischord label and anyone P.O.ed by the current political landscape will find a lot to like in the Theater of the Absurd.

Miles Davis – In a Silent Way (1969) I shudder to think how Miles Davis would have responded to the age of Twitter. Davis has been dead for nearly 30 years and audiences are still trying to catch up to what he was doing. The period when In a Silent Way came out demonstrates Davis’ restlessness and ambition. Just a year earlier, Davis disbanded his second quintet, one of the most incredible ensembles in music history. Three members of that quintet appear on In a Silent Way, but are used in completely different ways and surrounded by a host of other musicians. I’m having trouble coming up with a contemporary corollary for the sounds here. The last couple Davis quintet albums hinted at this direction, but In a Silent Way’s music still sounds surprising and fresh more than half a century later.

Neither rock, nor jazz (and not fusion), the closest touchstone to the music on In a Silent Way might be a psychedelic, improvised version of Brian Eno and Robert Fripp tried to accomplish both together and on their own in the mid 1970s. In fact, John McLaughlin’s electric guitar that opens the second side on “In a Silent Way/It’s About that Time” sounds like what Daniel Lanois would play with Eno in the 1980s. Davis had long moved on by that point, of course. He jerked even more heads by releasing Bitches Brew, another masterpiece, the following year. The vast expanse of the universe is barely enough to contain all of Davis’ ideas. I’m glad he never had to face myopic imbeciles limited to 280 characters.

Alex Chilton – Songs from Robin Hood Lane (compilation) What is it about the Great American Songbook of the 1930s to ‘50s that compels repeated interpretations? Late in his recording career Alex Chilton drew from this well for two solid albums. The output bears absolutely no resemblance to the power pop that Chilton created with Big Star or the blue-eyed soul he brought to the Box Tops. While no one would confuse him with Grant Green, the albums do reveal Chilton has decent jazz guitar chops. Chilton’s phrasing and vocal delivery also depict him as someone completely at home in this style of music. The title of this collection holds the key to Chilton’s comfort with these jazz standards. Robin Hood Lane was the name of the suburban Memphis street where Chilton grew up hearing his mom play these classic songs endlessly. Come to this collection not expecting “September Gurls” or “Cry Like a Baby,” but with an open mind to hear another facet from a criminally neglected (by mainstream society and himself) artist.

Eddie Hazel – Game, Dames and Guitar Thangs (1977) Parliament-Funkadelic guitarist Eddie Hazel left his stamp on many P-Funk classics (dig “Maggot Brain” as Exhibit A) but this was the only solo album released in his lifetime. Solo is a relative term here. Bassman Bootsy Collins co-wrote three of the songs here and keyboard legend Bernie Worrell is credited on two. Those two, plus the Brides of Funkenstein and a host of other P-Funk players all appear, but the album really does belong to Hazel. He transforms “California Dreamin’” into a slow jam and turns the Beatles “I Want You (She’s So Heavy)” into an acid-drenched guitar workout. The original songs fit well into the P-Funk songbook, but Hazel’s playing is remains prominent throughout. Although Hazel continued to sporadically appear on P-Funk releases after this album dropped, he was never as prominent as before. Thankfully back in print, Game is essential not only for P-Funk fans, but anyone who wondered what Jimi Hendrix or Ernie Isley might have sounded like fronting a funk band.

Tom Petty and the Heartbreakers – Hard Promises (1981) Nearly 40 years ago, when Hard Promises came out, MCA records wanted to hike the price to $9.98. Today, you can down the album on iTunes for $9.99. Inflation, huh? Petty and the boys refused to be the reason their label nicked fans an extra buck and Hard Promises eventually came out at the standard price of $8.98. Regardless of how much you paid, the music here is worth the investment. The songwriting on Hard Promises is every bit as good as Damn the Torpedoes, the band’s previous album, but doesn’t suffer from the same overexposure. The album starts with the classic “The Waiting” before leading into “A Woman in Love (It’s Not Me),” the album’s second single. The remaining eight songs are all album cuts, but still beloved to hardcore Petty fans. Stevie Nicks duets on the gorgeous “Insider,” the Heartbreakers roar on “A Thing About You” and the album ends with another delicate ballad, “You Can Still Change Your Mind.” In between we get the slinky “Nightwatchman” and “The Criminal Mind,” which opens with a slide guitar part that sounds like a country version of the riff from “Mary Jane’s Last Dance.”

Heartbreakers bass player Ron Blair left after this album and didn’t return until 20 years later. Of the four original-lineup Heartbreakers albums, Hard Promises is easily my favorite. Heck, it might be my favorite Petty album pre-Full Moon Fever. Either way, all American rock fans need this album.

The Roots – Game Theory (2006) The Philadelphia natives that comprise The Roots are often labelled the best band in hip hop, an unsubtle jab at other groups that don’t play traditional instruments. Twenty-seven years after their debut album, I think it’s past time to drop the sobriquet and call them what they are: One of the best bands ever. Full stop. After striving (and compromising) for mainstream success on their previous album, The Roots went all-in on a darker, stripped down sound for Game Theory. Even though they weren’t aiming for the charts, I find myself humming the hooks in these songs for days afterward. Named after a mathematical model for decision making, Game Theory stares at big-picture topics like police brutality, drug addiction, poverty and dishonest media outlets. MC Black Thought’s isn’t afraid to drop heavy lyrics, but his delivery swings enough that you wind up tapping your foot as you nod your head. “Clock With No Hands” isn’t just a thought-provoking (no pun intended) look at addiction, but features a beautiful original (read: non-sampled) melody. In fact, one of the few samples on the album comes when Thom Yorke’s voice floats in and out of “Atonement.”

I saw The Roots perform with a full horn section on back-to-back nights of the Game Theory tour and they are among the best shows I’ve ever seen. Not in hip hop, but among everyone. Full stop.

Various Artists – Lows in the Mid-Sixties: Vol. 54: Kosmic City Part 2 (compilation) Between 1967 and 1973, Cavern Studios in eastern Kansas City, Mo., were a hotbed of recording activity. Local groups could venture into the subterranean limestone cave where the studio was located and, for the right amount of money, walk out with a record. The best of the rock sides were compiled on Numero’s exquisite collection Local Customs: Cavern Sounds, shown back on Day 12. Lows in the Mid-Sixties is a companion to that release, rounding up 14 covers of well-known hits by bands you’ve never heard. It is solid garage rock with a touch of psychedelia sprinkled across for good measure. One of my favorites is Dearly Beloved’s version of Bob Dylan’s “It’s All Over Now Baby Blue.” Dearly Beloved have clearly studied Van Morrison and Them’s cover, but removed the shimmering signature guitar line (later sampled by Beck on “Jack Ass”). The music here is far from essential and I’m not sure how interesting it might be to an audience beyond KC’s metropolitan area, but it proves the local music scene was humming around the Age of Aquarius.

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Sonny Rollins – The Freedom Suite (1958) The Civil Rights movement and bebop came of age together in the 1940s and ‘50s. It makes just as much sense for the jazz artists of that time to make music about the blatant racial inequality happening in America at the time as did for Chuck D, KRS-One and Mos Def to do it in their times. The hard-hitting title song lasts nearly 20 minutes and takes up the entire first side. In it Rollins displays his talent for twisting, flipping and turning a theme inside-out, only without any of the humor he usually infuses into his playing. Rollins is dead serious here and his point is driven home by Max Roach’s sympathetic and dynamic drumming. The second side is devoted to softer material, including a stellar reading of The Music Man’s “’Till There Was You” (also covered by the Beatles). Rollins’ pacing in the production of this album is just as impeccable as in his playing. He knows when to clench a fist and when to extend a hand.

Raffi – Singable Songs for the Very Young (1976) This was a favorite album from my childhood and my son now enjoys it. I wrote extensively about Raffi and his then-unknown producer some time ago. 

Les Vikings de la Guadeloupe – Enko on ti Tou: 1966-2016 (compilation) I don’t know anything about this band or this music except that I love it. Internet research tells me this is “one of the most important French Antillean band from the ‘60s and ‘70s.” This practically goes without saying. In all my acquaintances with other French Antillean bands from the ‘60s and ‘70s, Les Vikings de la Guadeloupe definitely rest on the top of that pile. The internet also tells me their music is “a unique mix of Biguine, funk, Latin, compass and early Zouk.” Don’t confuse Les Vikings de la Guadeloupe with a late Zouk band. They are strictly early Zouk. Look, here is all you need to know about this fantastic collection. Ready? You know how there aren’t many airplanes in the sky right now, because we can’t really leave our houses except to go to the grocery store? And you know how we all can’t wait for this to end and safely return to exploring our world? If you put this record on and close your eyes, you can take an easy vacation in your mind down to the Caribbean. No frequent flyer miles required.

Bob Dylan – Under the Red Sky (1990)
Joni Mitchell – Chalk Mark in a Rain Storm (1988)
Paul McCartney – Egypt Station (2018) Most longtime artists who hang around long enough reach a crossroads at a certain point in their careers. Do they want to continue pushing to be on the vanguard, or will they regroup and continue to create from their strengths? Typically, the audience figures this out an album or two before the artist. A common attempt to hang on the precipice of the cutting edge a little longer is to rope in several high-profile guests.

This is the place Bob Dylan and Joni Mitchell found themselves in the late ‘80s. Mitchell enlisted Tom Petty and Billy Idol to assist on “Dancin’ Clown,” with a result that is as head-scratching as it appears on paper. Other duets were more successful. Peter Gabriel steps into “My Secret Place” and makes it sound like a So b-side. Willie Nelson and Don Henley trade vocals with Mitchell on “Cool Water” and “Snakes and Ladders,” respectively. The best duet on the album, though, comes between Mitchell and saxophone legend Wayne Shorter on “A Bird that Whistles (Corrina, Corrina).”

The hype sticker on my copy of Under the Red Sky boasts special appearances by David Crosby, George Harrison, Bruce Hornsby, Elton John, Al Kooper, Slash, Jimmie and Stevie Ray Vaughan, Don Was and more, with each musician’s name in all caps. For all that star power it’s remarkable that only a few guests manage to differentiate themselves from standard studio pros. The other problem with Under the Red Sky is that some of the songs are embarrassing. It doesn’t matter which special guest plays the solo on “Wiggle Wiggle,” the ghost of Jimi Hendrix couldn’t save a tune with the lyrics “wiggle to the right, wiggle to the rear/wiggle ‘til you wiggle right out of here.” Dylan is still Dylan though, and he gives us the great “Born in Time” to counterbalance “Wiggle Wiggle.” But that’s the problem: the album is a wash.

Neither Chalk Mark or Red Sky are bad albums, per se. It’s that not only do the results fail to add major works to each artists’ considerable songbooks, they seem to be trying awfully hard to achieve this mediocrity. To be fair, half-baked Dylan and Mitchell are still better than the majority of songwriters, and there are some keepers hidden in both albums. But Chalk Mark and Red Sky are also the final contemporary-sounding albums each made before retreating to acoustic guitars and the style of music that made both of them icons and haven’t come close to anything close to modern again.

Paul McCartney has managed to avoid this trap for the most part. There was a time in the mid-to-late ‘90s after the Beatles Anthology came out that it looked like he was going down the heritage path, but he still believes he can land on top of the charts again. On McCartney’s most recent album, Egypt Station, he brought in producers Greg Kurstin, who has worked with Sia, Beck, Pink and Zayn Malik of One Direction, among others, and Ryan Tedder, who has worked with Beyonce, One Direction, Selena Gomez, Ed Sheeran and many more. Clearly McCartney was thinking about the zeitgeist when he selected these producers. And while the single “Fuh You” was obviously written for Top 40 appeal, it’s also not half as awkward as “Wiggle Wiggle” or “Dancin’ Clown.” Egypt Station won’t make anyone forget about Band on the Run, but it also feels a lot less forced that Under the Red Sky and Chalk Marks in a Rain Storm.

Obviously, Dylan and Mitchell went on to release some great albums after they embraced heritage status. I don’t know that McCartney has made an album as good as Love and Theft this century, but he also hasn’t resorted to a hits-with-strings live album or three consecutive standards album. (McCartney did one, 2012’s Kisses on the Bottom, and moved on.) That has to count for something.

Mavis Staples – Livin’ on a High Note (2016) Mavis Staples is a treasure. Her soulful voice never fails to put me at ease. For her 10th solo album, Staples is assisted by some of the top indie music songwriters today. Justin Vernon, Benjamin Booker, Valerie June, Aloe Blacc and Neko Case all contribute songs. Case’s work is rarely performed by other singers, so it is intriguing to hear Staples’ voice interpret Case’s unique phrasing. Vernon and M. Ward’s “Dedicated” is another standout track. I love the way Staples delivers the lyric “if it’s us against the world/Well I would bet on us” with so much hope and assurance. Livin’ on a High Note ends on a high note with “MLK Song,” a gospel folk song that incorporates one of Martin Luther King, Jr.’s speeches for the lyrics. Staples knew King well and marched with him several times in the 1960s. Again, her singing is full of hope and optimism, not sadness or loss. Livin’ on a High Note is a feel-good album for any time, but it seems especially needed right now.

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By Joel Francis

I’m still lost in the catacombs, down in the groove.

Lou Reed – New Sensations (1984) Lou Reed released several endeavors that sound more intriguing in concept than execution, but New Sensations stands out in a deep catalog full of non-sequiturs: It is relentless optimistic both lyrically and musically. I have no idea what put Reed in such a good mood, but it is a delight to hear praise impulsive behavior on “Doing the Things that We Want To,” turning the Detours’ “Do You Love Me” sideways for “I Love You, Suzanne” and celebrating a compatriot on “My Friend George.” If this sounds slight, fear not. There’s nothing here as lightweight as “The Original Wrapper,” which appears on his next album, Mistrial. New Sensations it a strong conclusion to an incredible – and diverse – trilogy of albums that appeared in consecutive years and represent Reed’s strongest run of material outside of the Velvet Underground.

Coathangers – The Devil You Know (2019) When first playing this sixth release from the all-female Atlanta trio one might think there was a mix-up at the pressing plant. Opening cut “Bimbo” opens with a light, bouncy guitar and piano line and airy vocals. Then the distortion kicks in at the chorus and we realize how the sonic dichotomy supports the song’s lyrics about making assumptions about women. Very clever. “Stranger Danger” employs a similar trick as coquette-ish repetition of the song title plays against more defiant vocals in the verses before all hell breaks loose on the chorus. The song does a great job of capturing #metoo-era menace in under three minutes. “Stranger Danger” sets the table nicely for “Fuck the NRA,” a song as brash and straightforward as its title and the album’s best moment. Clocking in at just over half an hour, The Devil You Know makes it point and quickly departs.

Sam and Dave – Double Dynamite (1966) Soul music abounds with upbeat songs and combos, but I don’t know of any as relentlessly happy as Sam and Dave. You can even hear them smiling during serious ballads like “When Something is Wrong with My Baby (Something is Wrong with Me).” Double Dynamite is Memphis soul at its finest, with Booker T. and the MGs serving as the backing band and Isaac Hayes and David Porter providing songs. The first side of this album has several of the duo’s hits, including “Soothe Me,” “Said I Wasn’t Going to Tell Nobody,” and “You’ve Got Me Hummin’.” The second side is less-known but still great and features a version of Dan Penn and Spooner Oldham’s “I’m Your Puppet.”

Bob Dylan – Sidetracks (compilation) – This collection gathers all the non-album tracks released on box sets and hits collections over the years. The majority of the cuts come from the Biograph box set and are quite good, but I am partial to the songs from Greatest Hits, Volume II, which was a staple in my college dorm room. Dylanologists can rejoice than they no longer need skip through a half-dozen other anthologies for these hard-to-find tracks. Casual fans looking for the hits won’t find them here, but they will encounter a lot of great songs to send them scurrying deeper into the catalog. Non-albums singles like “Positively Fourth Street” and 1999’s Oscar-winning “Things Have Changed” which will satisfy both audiences.

John Entwistle – Whistle Rymes (1972) – John Entwistle solo albums can be a dicey proposition. The majority of them are more miss than hit, I’m afraid. Thankfully, Whistle Rymes (sic), The Ox’s second solo album is a safe endeavor. That’s not to say it’s not for the faint-hearted. The liner notes, penned by Entwistle, is the beginning of a fairy tale about a girl named Boobity. So, yeah. (If this tale was ever completed elsewhere, I don’t want to know about it.) The closing song, “Nightmare (Please Wake Me Up)” is a glorious cacophony of horns, piano, violin and drums. The rest of the album is quite good. Anyone who heard The Who songs “Boris the Spider,” “Silas Stingy” or “Heaven and Hell” and thought they needed some more will be pleased with Whistle Rymes.

Wynton Marsalis – Black Codes from the Underground (1985) The jazz world lost a tremendous gift when Ellis Marsalias, patriarch of the great jazz family passed last week. I saw Marsalis at a small theater in Kansas City about a decade ago with a combo that included his son Jason on drums. Somehow, after the show, a neighbor who played saxophone and went with me had talked our way into joining the band – minus Jason – for drinks at the hotel across the street. I soaked in the conversation and experiences until Ellis arrived. He started telling stories about when Charlie Parker was in Jay McShann’s band. McShann, Ellis said, tried to get everyone to take his young horn player because he was so undependable. “You found him, you keep him!” Ellis remembered the other bandleaders telling McShann as we all laughed.

I mention all this here because I don’t have an Ellis Marsalis album and because there will be other opportunities to discuss the rest of the Marsalis family. I have no doubt somewhere in heaven the newly arrived pianist is sitting in on a heck of a jam session.

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By Joel Francis

A 30-day lockdown in my hometown of Kansas City, Mo. was announced today. It looks like this trek through my record collection will continue a while longer.

Bruce Springtsteen – Western Skies (2019) The Boss made his legion of fans wait five long years between releases before dropping Western Skies in the middle of 2019. The first few times I listened, I didn’t like it at all. The songwriting was good, but the strings were too syrupy and heavy-handed. Even though I couldn’t get into the album, when I saw it on sale online the completist in me pushed the buy button. I don’t know what changed, but something happened when I played it this morning. I heard everything with new ears and finally heard what Springsteen was trying to accomplish with the orchestra. I can’t wait to dig into this one again.

Neville Brothers – Yellow Moon (1989) The highs and lows of this album come in rapid succession at the end of side one. Aaron Neville voice soars cover of Sam Cooke’s “A Change is Going to Come.” The civil rights hymn is accented by producer Daniel Lanois’ tremelo guitar and guest Brian Eno’s ethereal keyboards. The civil rights theme takes an uncomfortable turn with the next song, “Sister Rosa,” a well-intentioned by horribly awkward rap tribute. Fortunately the ship is righted with Aaron Neville back in the spotlight with a tender cover of Bob Dylan’s “With God on Our Side.” Elsewhere, the album explores cajun and the brothers’ native New Orleans on songs like “Fire and Brimstone” and “Wild Injuns.”

Kelis – Food (2014) Her milkshake brought the boys to the yard, but Food is a full meal of biscuits and gravy, jerk ribs and cobbler. Working with producer Dave Sitek from TV on the Radio, Kelis’ most recent album to date rejects contemporary production and attempts at Top 40 success. The organic arrangements with live instrumentation make this a Kelis album with the singer in firm control, rather than a vehicle with her voice slotted into other producers’ ideas. The relaxed comfort of the sessions comes through in the songs. “Cobbler” opens with gales of laughter as a slow Afrobeat groove slowly builds. Those same horns also pop up in “Jerk Ribs” and “Friday Fish Fry,” propelling everyone straight to the dance floor. “Bless the Telephone” might be my favorite moment on the album. It’s also one of the most basic –Kelis and Sal Masakela sound so honest and vulnerable singing over a gorgeous acoustic guitar line. Then the party roars back to life.

The Flaming Lips – The Terror (2013) The Terror isn’t my favorite Flaming Lips album by a long shot, but it felt the most appropriate right now. Half the band was in a bad way when this album was being made and it shows. Singer Wayne Coyne’s longtime romantic relationship had ended and multi-instrumentalist Steven Drozd relapsed into substance abuse. There aren’t any hints of the magic and wonder fans got from the band’s breakthrough albums. Instead there are songs like the seven-plus minute “Butterfly, How Long It Takes to Die,” which sounds like the dawn of a nightmare in some post-apocalyptic desert. But hey, when you haven’t left the house in more than a week and have just been alerted your entire city is on lockdown for the next 30 days, sometimes even cold comfort is comforting. Happy spring, everybody!

Son Volt – Straightaways (1997)

Uncle Tupelo – Anodyne (1993) The first time I saw Son Volt was in support of Straightaways, when they opened for ZZ Top at Sandstone Amphitheater. The venue was your typical outdoor shed and my friend and I were miles away from the stage, out on the lawn. Frontman Jay Farrar was never known for his onstage energy and the songs sizzled out well before they reached us.

Oh to have seen Farrar just a few years earlier. If I could build a time machine, one of the first places I’d go would be to an Uncle Tupelo concert. Hearing Farrar’s voice pair with Jeff Tweedy’s on the chorus of “Slate,” the first song, always sends me to a happy place. While the sessions for what would be the pair’s final album were acrimonious – at least from Farrar’s viewpoint; Tweedy has said he had no clue of his partner’s hostility and disillusionment – the result is a timeless slab of alt-country goodness.

Bleached – Welcome to the Worms (2016) Centered around sisters Jennifer and Jessica Clavin, Bleached operates somewhere between Blondie and the Donnas. I first saw the band at the now-shuttered Tank Room on Halloween night with Beach Slang. The sisters, along with bass player Micayla Grace, all performed in costume. These songs were a little more garage-y in concert, but it is still great girl-group rock however you slice it.

Ahmad Jamal – Inspiration (compilation) This 1972 collection finds jazz pianist Ahmad Jamal primarily working in a trio format with bass and drums. The assemblage hops around from the mid-‘50s to the late ‘60s in both studio and club settings. Several of the songs are augmented with a string section, which can be a little jarring, since Jamal isn’t know for orchestral work. Despite the seemingly hodgepodge nature, the four sides make for a generally cohesive play. Jamal made a ton of records and none of them are very expensive. Any good music shop will have at least five or six inches of his platters to choose from in the stacks. This isn’t a bad place to start.

Emmylou Harris – At the Ryman (1992) Emmylou Harris was coming off the worst-performing album of her career to date when she stepped onstage at the storied Ryman Auditorium for three nights in the spring of 1991. Backed by her new bluegrass ensemble the Nash Ramblers (lead by Sam Bush), Harris tackles several hit songs associated with other artists. While her versions of Steve Earle’s “Guitar Town,” Bruce Springsteen’s “Mansion on the Hill” or John Fogerty’s “Lodi” won’t make you forget the original performers, Harris puts her own distinctive stamp on them. One of my favorite singers of all time, Harris’ voice is particularly affecting on the a capella “Calling My Children Home” and a medley of Nanci Griffith’s “It’s a Hard Life Wherever You Go” and “Abraham, Martin and John.”

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By Joel Francis

Each day during the quarantine I’m going deep into my record collection and writing about what I pull out.

Dave Brubeck Quartet – Time Further Out (1961) Dave Brubeck’s groundbreaking 1959 release Time Out was so successful a sequel was inevitable. The point of these albums isn’t the complexity of each composition’s time signature. It’s how much fun the group seems to be having as they effortlessly skate through rhythms that would make prog rock bands break out in sweat. Take “Unsquare Dance” for example. On the face it seems simple enough – just handclaps and snare drum with Brubeck intermittently tickling the keyboard. The result is catchy and edgy enough to appear in “Baby Driver,” a mixtape masquerading as a heist film released a mere 56 years after the song was recorded.

Bob Dylan – Live 1966: Acoustic Set (1998) The first time I saw Bob Dylan in concert, in the late ‘90s, a friend asked me if he played acoustic or electric. The answer, of course, was both, but the aftermath of that plugged in Newport set warranted the question nearly half a century later. This archival release was recorded about a year after the firestorm at the folk festival. The seven songs that comprise this acoustic set are immaculate. Of course the songs are amazing, but what stands out to me is Dylan’s harmonica playing and the way he teases phrases and moments. This set makes a strong case that Dylan may be an even better performer onstage alone, without a net. Knowing that the arrangements will soon get turned up amplifies the solo performances even more.

Pete Townshend – White City (1985) After the death of drummer Keith Moon, Pete Townshend is often accused of holding back his best work for solo projects and delivering second-rate material for The Who. I disagree. “Face Dances” has just as many strong moments as “Who Are You,” Moon’s final album. By the time the band got to “It’s Hard” no one’s heart seemed to be in it. Besides, it is very difficult to imagine Roger Daltrey singing anything on this album beyond the bombastic (and excellent) opener “Give Blood.” I don’t see where John Entwistle’s bass would add anything, either.

There’s supposed to be a story in here somewhere. I once watched Townshend’s 60-minute film version of White City so long ago it was on videotape. The narrative wasn’t any more apparent after that experience, although it was nice to hear different and extended versions of the material. Don’t overthink this, just appreciate it.

Raconteurs – Live at Cain’s Ballroom (2020) I saw the Raconteur’s performance in Kansas City that immediately followed the shows in Tulsa, Okla. that form this album. It was … good. Nothing groundbreaking, but a solid night out. Unless something changes, I don’t think I’ll feel compelled to buy a ticket next time they come through. The same goes with this album. It’s great to have a document of that tour, but the performance doesn’t have the energy of their concert at the Ryman Auditorium on a 2011 tour (released in 2013). I think I’ll be playing that album more often.

Various Artists – Big Blue Ball (compilation) In the early 1990s, Peter Gabriel hosted a series of weeklong workshops at his home studio. Artists from all over the world were encouraged to add to existing recordings and develop and contribute original material. This collection, released in 2008, a brisk 13 years after the final gathering, is the culmination of those sessions. There are a couple Gabriel gems to be sure, but fun for me is scouring the musician credits and try to pick out how everyone interacts together. Living Colour axeman Vernon Reid lays down synth guitars on “Rivers,” a New Age track that wouldn’t be out of place at a spa (or at least what I imagine a spa would be playing). Gabriel corrals jazz drummer Billy Cobham, former Public Image Ltd. bass player Jah Wobble and onetime Prince foil Wendy Melvoin for the single “Burn You Up, Burn You Down.” The song “Forest” opens like an outtake from Gabriel’s Passion soundtrack before turning into something that might be heard at a dance club or upscale art gallery (or at least what I imagine an upscale art gallery would be playing). Most of the album stays in this vein of world music with modern elements.

Echo de Africa National – Récit Historique de Bobo-Dioulasso (unknown) I know absolutely nothing about this album. I couldn’t even determine the year when it came out. The two side-length songs aren’t even given titles. To my ears, it sounds like this was recorded sometime between 1965 and 1975. I can tell you that if you like African ensembles with multiple horn players, percussionists and guitarists, who like to stretch out, this is probably for you. I haven’t been disappointed by it.

Various Artists – Light on the South Side (compilation) Less an album than an aural art installation, Light on the South Side combines 18 obscure blues and soul cuts with a gorgeous 132-page hardcover book featuring sumptuous black-and-white photography of African-American working class adults in the 1970s looking to escape the pressures of everyday life in the dive bars on Chicago’s South Side. You can smell the polyester and cigarette smoke listening to Little Mack do the “Goose Step” or hearing about Bobby Rush’s “Bowlegged Woman.” Crack open a High Life tall boy and enjoy.

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By Joel Francis

The coronavirus pandemic has taken a lot of things away, but one thing it has provided me in abundance is plenty of extra time at home. I decided to make the most of my social distancing by doing a deep dive through my album collection. As the turntable spun, I was inspired to write about what I heard.

My intent is to provide brief snippets about each day’s albums. I understand that many of these classic recordings deserve lengthy posts on their own, but since we will be covering a lot of ground here I will try to remain brisk and on point. Ready? Let’s get to it.

Black Sabbath – Heaven and Hell (1980) Sabbath’s first half-dozen albums are rightly canonical. Heaven and Hell isn’t as groundbreaking but every bit as enjoyable as those classic platters. Sadly, the Ronnie James Dio era of Sabbath is mostly remembered by headbangers these days. This is the only Sabbath album I own, but I look forward to someday adding Mob Rules to the collection.

Hot Water Music – Light It Up (2017) – Playing the most recent album from the veteran Florida rock band was intended to wet my whistle for their concert at the RecordBar, scheduled just a few days away. Alas, like everything else on the horizon it was moved forward on the calendar until a hopefully calmer time. With a name swiped from Charles Bukowski and a sound like gasoline arguing with barbed wire the show is guaranteed to be a winner whenever it is held.

The Hold Steady – Heaven is Whenever (2010) This was my least-favorite Hold Steady album when it was released and I confess I haven’t played it as much as the albums that preceded and followed it. I thought the departure of multi-instrumentalist Franz Nicolay left too much of a hole in their sound, though the band sounded great when I saw them on this tour. Playing it now, I don’t think I gave Heaven is Whenever is enough credit at the time. It’s not a masterpiece on the scale of Boys and Girls in America and not as fierce as Teeth Dreams but there are some freaking fine moments, including “Our Whole Lives,” buried at the end of side two.

Bruce Springsteen – Born in the U.S.A. (1984) What can be said about this landmark that hasn’t been said before? To be fair, this album was a request from my five-year-old son who loves “Dancing in the Dark” thanks to E Street Radio. “Dancing” is the next-to-last track, meaning he exposed to 10 other great tunes while waiting for his favorite number. Hopefully a few more of them will stick, although I’m not sure I want him singing “I’m on Fire” quite yet.

The Yawpers – American Man (2015) This Denver-based trio fits in well on Bloodshot’s roster of alt-country acts. Songwriter Nate Cook’s early 21st-centry examination of the U.S. of A. plays like a road trip. On songs like “9 to 5,” “Kiss It” and “Walter” they sound like Uncle Tupelo being chased through the Overlook Hotel by Jack Torrance.

The Highwomen – self-titled (2019) I toured the Country Music Hall of Fame in Nashville a few years ago. I was fascinated by the museum until the timeline reached the late 1980s. After Dwight Yoakam and Steve Earle came on the scene, mainstream country and I quickly parted ways. The four songwriters in Highwomen are trying to reclaim popular country music on their own terms. Many, many great artists have tried to bend Music City to their tastes only to retreat exhausted. The best of them found Music Row sucking up to their pioneering sound only after it became popular. My guess is that the Highwomen will follow this same route, but they are so good you can’t rule out they will be the ones to finally break the stale, chauvinistic stockade.

(I say this and then notice that I’ve namedropped two male country stars in this piece without mentioning any of the female members of the Highwomen. Sigh. Please forgive me, Brandi Carlile, Amanda Shires, Natalie Hemby and Maren Morris.)

Jamila Woods – Legacy! Legacy! (2019) The Ivy League-educated neo-soul songstress focuses on the small to show us the large on her second album. Each of the thirteen tracks focus on an important black artists – Nikki Giovanni, Eartha Kitt, Jean-Michel Basquiat – explore what it means to be black in America today. What sounds like an academic thesis is actually a good dance album, thanks to a soundscape that slides between jazz, soul, hip hop, Afro-beat and even touches of EDM.

Jeff Tweedy – Together at Last (2017) Thanks to the film “I Am Trying to Break Your Heart,” Jeff Tweedy’s bands Uncle Tupelo and Wilco barely made it into the mainstream before the monoculture collapsed and the entertainment world splintered into a million micro-genres and sects. The eleven songs performed here are stripped of all wonky production and distilled to voice and guitar. They are still amazing.

Joni Mitchell – Ladies of the Canyon (1970) Joni Mitchell’s work in the 1970s is every bit as good as Neil Young’s and even better than Bob Dylan’s. This album finds Mitchell branching out by adding more instruments to the guitar-and-voice arrangements found on her first two albums. The jazz clarinet solo at the end of “For Free” gets me every time. Three of Mitchell’s biggest songs are tucked at the end of side two. “Big Yellow Taxi” and “Woodstock” set up “The Circle Game,” a look at mortality than never fails to leave me feeling deeply blue.

Ian Hunter – You’re Never Alone with a Schizophrenic (1979) Ringo’s All-Starr Band isn’t the place for deep cuts, so I knew when Ian Hunter was listed as the guitar player for the 2001 tour I held a ticket for, I knew I was going to hear “Cleveland Rocks.” The only problem was the show was in St. Louis, so it didn’t really work. That’s Hunter’s catalog in a nutshell for me. All the right ingredients are there on paper and I get excited about hearing the albums when I read the reviews, but they never fully click with me. His releases are so plentiful in the used bins and priced so cheaply I keep giving them a shot hoping the next one will be The One.

Bear Hands – Fake Tunes (2019) Another play anticipating a performance that was cancelled. They descending keyboard part on “Blue Lips” reminds me of a good appropriation of Vampire Weekend’s first album (that’s a compliment). The overall vibe sends me to the same place as Beck’s “Guero” and “The Information” albums.

Thom Yorke – Susperia (2018) I’m not sure we needed a remake of Susperia, the 1977 Italian horror classic, but I’m glad it gave us Thom Yorke’s moody score. Trading his laptop for a piano, the Radiohead frontman provides 80 minutes of spare, melancholy instrumentals. The few vocal tracks make you wish there were more.

Yorke performed in Kansas City, Mo., less than two months after Susperia’s release, but ignored his latest album until the final song of the night. His performance of Unmade alone at the keyboard was the perfect benediction for a skittery night of electronic music.

Jack White and the Bricks – Live on the Garden Bowl Lanes: 1999 (2013)

The Go – Whatcha Doin’ (1999) These albums both arrived courtesy of the Third Man Records Vault and were recorded around the same time. Jack White was always a man of a million projects. When Meg was unavailable for a White Stripes show he grabbed some buddies – including future Raconteur Brendan Benson and Dirtbombs drummer Ben Blackwell – for a set including a couple songs that would become Stripes staples, a pair of Bob Dylan covers and a song by ? and the Mysterians (not 96 Tears). The sound is a little rough but the performance is solid.

The debut album from The Go, Whatcha Doin’ is hefty slab of garage rock guaranteed to put a smile on your face. Jack White plays guitar and co-writes a couple songs, but this isn’t his show. He left the band shortly after the album came out, but there was no animosity. In 2003, The Go opened several shows for the White Stripes in the United Kingdom.

Syl Johnson – We Do It Together (compilation) This is the sixth platter in the amazing Complete Mythology box set released by the Numero Group in 2010.The material starts in 1970 and ends in 1977, omitting the time Johnson spent with Hi Records. Never lacking in self-confidence, Johnson frequently claimed he was every bit as good as James Brown and Al Green. Although he doesn’t have their notoriety, Johnson’s albums could easily slip into a DJ set of those soul masters.

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(Above: Patti Smith delivers a track from the excellent “Banga.” The album barely missed our list.)

Here are The Daily Record’s favorite albums from 2012. As always, they are presented in haiku format.

1. Christian Scott – “Christian aTunde Adjuah”christian scott

Ambitions jazzman

drops double album, maintains

passion, quality.

2. Miguel – “Kaleidoscope Dream”

Usher’s songwriter

gets more creative control.

Blends Gaye, Prince, Zombies.

3. Japandroids – “Celebration Rock”miguel-kaleidoscope-dream-cover

A friend said album

title should be a genre.

I can’t agree more.

4. Jack White – “Blunderbuss”

Solo effort from

collaborator-in-chief

rewards long-time fans.

5. Santigold – “Master of my Make Believe”

Copycats creep in

after four years away, but

Santi reclaims throne.

6. Lupe Fiasco – “Food and Liquor II”corin tucker

Divisive MC

creates more controversy.

Thinking man’s hip hop.

7. Jimmy Cliff – “Rebirth”

Bob Dylan’s favorite

protest singer back after

eight long years away.

8. Corin Tucker Band – “Kill My Blues”glasper

Ex-S/K singer

returns lob from Wild Flag.

Confidence abounds.

9. Robert Glasper Experiment – “Black Radio”

Boundaries blow up on

Wynton’s least favorite album.

Purists will miss out.

10. Bob Dylan – “Tempest”

With gravel in voice,

blood in the stories, legend

adds to legacy.

Keep reading:

Top 10 albums of 2011

Top 10 albums of 2010

Top 10 Albums of 2009

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(Above: Neil Young preaches and sings his only No. 1 hit at Farm Aid 26 in Kansas City, Kan.)

By Joel Francis
The Daily Record 

Several years ago and less than a quarter mile from the gigantic Farm Aid stage at Livestrong Sporting Park in Kansas City, Kan., Willie Nelson welcomed Bob Dylan onto the stage. It wasn’t that big of a surprise – the pair was playing minor league ballparks together for the first time that summer – but it was incredible to watch the two titans collaborate.

Despite Farm Aid’s star power, Saturday’s nearly 11-hour musical marathon/fundraiser didn’t feature any similar big-name collaborations but that’s about the biggest disappointment that could be leveled at the day.

The first of 16 artists went onstage at 1 p.m., but it wasn’t until Hearts of Darkness, Kansas City’s Afro-beat ensemble, came out a half hour later that the stadium started feeling less like a dress rehearsal and more like a concert.

The first half of the day was heavy on folkies and country music legends. Ray Price, 85, looked frail, but his deep baritone voice is immortal. His delivery on songs like “For the Good Times” and “City Lights” still pack the same emotional punch as it did when they were recorded nearly 40 years ago. Billy Joe Shaver proved to be spry at 71 as he hooted and scooted his way through “Wacko from Waco,” “Georgia on a Fast Train” and “Honky-Tonk Heroes.” It would have been great to witness either Shaver or Price duet with Nelson – Price and Nelson have recorded a handful of albums together – but with mid-afternoon sets, the two were likely well-settled in their hotel rooms by the time Nelson ended the day several hours later.

Robert Francis and British actress Rebecca Pigeon (the only female performer on the bill) each delivered 30-minute sets of fine folk music, but the only performance that stood out was Francis’ cover of Bruce Springsteen’s “I’m on Fire.”

The final acts before the headliners could have filed under nepotism, but provided some of the daytime’s strongest moments. With a singing voice eerily similar to his dad’s, Lukas Nelson and the Promise of the Real married Texas blues with the Allman Brothers Band’s Southern boogie. Backed by former Wallflowers pianist Rami Jaffee, Jakob Dylan delivered several of his old band’s biggest hits, including “Sixth Avenue Heartache,” “Sleepwalker” and “One Headlight.” At times, the pairing of Dylan and Jaffee recalled Tom Petty’s more delicate work with Heartbreakers ivoryman Benmont Tench.

The unfortunate dud in this stretch came unexpectedly from Jamey Johnson, who despite getting an assist from Lukas Nelson and a solid six-piece band filled his time with too many mid-tempo numbers that failed to ignite both onstage and in the crowd.

Taking the stage shortly before 7 p.m., Mraz faced the biggest crowd of the day so far and drew more applause than any of the preceding acts.  Mraz got an assist delivering his bouncy acoustic folk/pop from longtime friend Toca Rivera on percussion and backing vocals. Their jazzy version of “Won’t You Be My Neighbor” (a.k.a. Mr. Roger’s theme song) drew a big reaction.

Several of his songs fit well with the day’s themes. Mraz said he wrote “Frank D. Fixer” for Farm Aid about the first farmer he knew, his grandpa. The second verse, ending with the line “what happened to the family farm?” was especially poignant.

Primed by Mraz, Dave Matthews fans were more than ready for their hero. Matthews – with help from guitarist Tim Reynolds – didn’t disappoint. His 45-minute set was packed with sing-alongs “Crush,” “Where Are You Going?” and the set-closing “Dancing Nancies.”

The crowd was ready for more singing when John Mellencamp emerged with his five-piece band, but Mellencamp played on his own terms. Detours through “Walk Tall,” “Death Letter Blues” and “If I Die Sudden” confused an assembly clamoring for the hits, but they were ultimately rewarded with a spectacular performance of “Check It Out” along with Farm Aid anthem “Rain on the Scarecrow,” “Small Town” and “Pink Houses.” A quiet reading of “Jackie Brown” performed only by Mellencamp and violinist Miriam Sturm was another highlight.

Neil Young needed only a harmonica and acoustic guitar to take the title of the day’s best set. He only played six songs, but the first three were a murder’s row of favorites: “Comes A Time,” “Sugar Mountain” and “Long May You Run.” Attention spans may have wandered during Young’s sermons against corporate farms and a pair of songs from last year’s excellent “Le Noise,” but he easily won the audience back with the opening chords of “Heart of Gold.” This was the fourth time I’ve seen Young but my first with him in coffeehouse mold. Experiencing  these songs in such an intimate way was powerful and emotional, leaving me with goosebumps and a lump in my throat.

After Young’s transcendental set anything would be anti-climatic, and Willie Nelson drew the short straw for ending the day. While neither Mellencamp nor Young emerged beyond their appointed times, Nelson worked the stage all day, opening the concert, accepting checks and thanking people. Understandably fatigued, Nelson’s set was light on his biggest songs – “Whiskey River,” “Still is Still Moving” and “Mama Don’t Let Your Babies Grow Up To Be Cowboys” were the only chestnuts delivered.

He turned the mic over to his son for a blistering version of “Texas Flood” and the family tribute “Fathers and Mothers.” Blessed with a second wind, Willie Nelson serenaded the host city with “Kansas City.” Several backing musicians from the previous bands came back out to help with a trio of gospel numbers that wove through “Will the Circle Be Unbroken,” “I’ll Fly Away” and “I Saw the Light” before ending bizarrely on “Roll Me Up,” a brand new Nelson song with the refrain “roll me up and smoke me when I die.” The subject was incongruous, but the music stayed in the same jubilant spirit.

Nelson’s herb of choice may not be a crop farmers can plant, but it was fitting end to a day focused on agriculture.

Keep reading:

Review: John Mellencamp

Review: Jamey Johnson

“Willie Nelson: An Epic Life” by Joe Nick Patoski

 

Review: “Neil Young – Long May You Run: The Illustrated History”

 

 

 

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(Above: Titus Andronicus deliver “A More Perfect Union.”)

By Joel Francis
The Daily Record

It’s clear that Patrick Stickles is a smart guy. His band Titus Andronicus is named after one of Shakespeare’s more obscure plays and his lyrics are littered with sly allusions to American history and rock heroes like Bruce Springsteen and Bob Dylan.

Despite the pretentious song titles (check the setlist) and English-major critiques (“This next song is about the narrator’s quest for internal validation,“ Stickles announced at one point), many of the band’s songs deal with self-doubt, alienation, insecurity and other forms of social and emotional uncertainty that have served countless other bands so well for so long.TitusAndronicusWhen Stickles led crowd in singing “you will always be a loser” or “the enemy is everywhere” it gave off similar vibe to when Weezer declared “In the garage/no one hears me sing this song or Morrissey and the Smiths wondered “In my life/why do I give time/to people who don’t care if I live or die?”Bonded in isolation, a full but not crowded Riot Room crowd reveled in the indie punk band’s 90-minute set on Friday night. The quintet charged out of the gate with the driving “A More Perfect Union,” also opening track on their most recent, excellent album, “The Monitor.” Stickle doesn’t have a big singing range and his lyrics are so dense it’s often difficult to discern what he’s saying/screaming over the band, but he always keeps the sound churning.

The set stalled a couple times because of equipment problems, but those interruptions couldn’t stall the night. Top moments included the emotional tour de force “Battle of Hampton Roads,” which lead into the mostly instrumental “Titus Andronicus Forever.”

One of the few indie bands that can boast a trio of guitars, “Forever” found the middle ground between Boston and Sonic Youth. As guitarists Amy Klein and David Robbins wailed in harmony, Stickle and the rhythm section reveled in cacophony.

Klein was the night’s unsung hero. Her boundless energy infected the entire room. Most of the night it looked as if she was playing guitar on a trampoline. The only time she wasn’t bouncing around was when she switched to violin. Her lovely solo and arrangement on “Four Score” served as a nice counterpoint to Stickles’ grievances.

At times Stickle seemed to prattle on a bit much between numbers -– especially in the second half of the set –- but when the band kicked in the world was a perfect place, at least until the song ended.

Setlist: A More Perfect Union; Richard II; My Time Outside the Womb; New Song; Upon Viewing Brueghel’s ‘Landscape With the Fall of Icarus’; Fear and Loathing in Mahwah; No Future Part Three: Escape From No Future; Titus Andronicus; To Old Friends and New; Battle of Hampton Roads > Titus Andronicus Forever; Four Score and Seven.

Keep reading:

Review: Smashing Pumpkins, Cake

Review: T-Model Ford

Review: Modest Mouse (2010)

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