Social Distancing Spins – Days 15-17

By Joel Francis

The weekend weather was way too nice to be inside playing records. Here’s what I listened to when I wasn’t enjoying nature.

Fucked Up – Dose Your Dreams (2018) Toronto’s finest sextet have always been incredible musicians, but sometimes their subtlety and talent gets lost behind frontman Damian Abraham’s blowtorch of a voice. Here, on their fifth album, Abraham pulls back a little and the rest of the band flexes their muscles. I guess the story on Dose Your Dreams is a continuation of their 2011 masterpiece David Comes to Life. I have listened to David Comes to Life countless times and have only and elementary understanding of its story. The narrative on Dose Your Dreams is lost on me. So forget about that. Check out the rare mashup of hardcore punk and jazz saxophone at the end of “Raise Your Voice Joyce” (dig the synthesizer on the track, too). The title track is straight-up indie rock, while “Two I’s Closed” sounds like it could be the Dirty Projectors. If this sounds like the band leaving punk and throwing everything at the wall, fear not. The songs are still here, just not in the way you might expect.

Dose Your Dreams is the sound of Fucked Up spreading their wings. It will be interesting to see where they go from here.

Joe Callicot – Ain’t A Gonna Lie to You (2003) Don’t feel bad if you aren’t familiar with Mississippi Joe Callicot – I wasn’t either. Cruising the liner notes and the web, I found out that the dozen songs here were recorded in 1967, two years before his death. I could recite a few other facts but all you really need to know is that Callicot is an acoustic blues picker in the vein of fellow Mississippian John Hurt. Callicot’s voice isn’t as molasses-smooth as Hurt’s, but if you like the relaxed style of one, you’ll enjoy the other. These times are anxious enough. Put this on and unwind.

Blondie – Eat to the Beat (1979) In her autobiography, Debbie Harry describes Blondie as a nonstop circus of recording, tours and musicians. In the six year (and six album) blur between playing shows at CBGB and headlining arenas before breaking up, Harry has a point. Still, it would be nice if she slowed down to let fans savor the journey a little bit more. Blondie’s fourth album opens with the fantastic “Dreaming,” still a concert staple.  We also get the new wave dance classic “Atomic” and cinematic “Union City Blue.” Eat to the Beat is the only Blondie album I own, but every time I play it I’m reminded I need to seek out a couple more.

Billie Holiday – Lady in Satin (1958) As the final album released during Billie Holiday’s brief life, it’s hard not to listen to this album and not think about her tragic story and play the what-if game. Her ragged voice here is another constant reminder of her hard life. As an inspired artist, Holiday is able to use her ragged state to her advantage. The raw tension she infuses into every performance adds another dimension to songs like “Glad to Be Unhappy” and “You’ve Changed.” I also thought about this article and how racists in power conspired to make Holiday’s life even more difficult. I know it sounds fantastic, but just check out the reporting and get back to me. Rest in peace, Lady Day.

Stevie Wonder – Music of My Mind (1972) Stevie Wonder’s incredible run of classic albums usually begins with Talking Book, but the people who start there are missing the two great records that came before that landmark. Music of My Mind came out just six months before Book and lays the groundwork for all of the latter’s achievements. The synthesizers and clavinets that came to define Wonder’s sound are trotted out for the first time here. Music of My Mind is also the first album where Wonder plays most of the instruments himself. (Sayonara Funk Brothers.) The first side starts strong with the upbeat “Love Having You Around.” “Superwoman” is a reworking of a song from Wonder’s previous album. Its great in both forms. “I Love Every Little Thing About You” would fit fine on a playlist of Wonder love songs, right between “All I Do” and “As.” The second side is good as solid as well. Consider this a warm-up for Talking Book and jump in. It’s all there – almost.

Justin Townes Earle – Absent Fathers (2015) The first time I saw Justin Townes Earle in concert, he was part of his dad Steve Earle’s road crew. He came onstage (barefoot) at the end of the night to add extra guitar to “What’s So Funny ‘Bout Peace Love and Understanding.” Unfortunately, the father had to fire his son for excessive drug use before the tour was over. Keep in mind Steve Earle actually served time in the early ‘90s for heroin, cocaine and weapons possession, so outdrugging him is a pretty neat trick.

This bit of biography also frames the sadness that saturates the characters on Absent Fathers. None of these ten songs are about the perfect nuclear family, but Justin Earle inherited his dad’s knack for songwriting and inhabits these characters so well it’s hard not to be moved.

Bobo Yeye – Belle Epoque in Upper Volta (compilation) I am convinced – but willing to hear otherwise – that the roots of all music either goes back to Gregorian monks chanting in Europe or African drumming and singing. While both forms have their appeal, I’ll take the dirty African funk found here any day. Loud drums, horns, fuzzy guitars, soulful vocals, primitive recording. Yeah, this hits the sweet spot. Accompanying the three albums in this Numero collection is a hardcover book of photography and essays about the music. Feast your eyes and your ears.

Review: F*cked Up

(Above: Kansas City’s own Maps for Travelers cover “The Other Shoe” in anticipation of Fucked Up’s appearance at the Middle of the Map festival.)

By Joel Francis
The Kansas City Star

The band may be Fucked Up, but they do many things very well. During the inaugural hour of Easter Sunday, 2012, the six-piece hardcore punk band from Toronto abolished the barrier between artist and audience with an enthusiastic set that turned fans into friends.

The hourlong set leaned heavily on last year’s “David Comes to Life,” an ambitious masterpiece that can stand proudly with other genre-redefining, double-LPs like “London Calling,” “Zen Arcade” and “Double Nickels on the Dime.”

The band had barely kicked into opening number “Queen of Hearts” before frontman Damian “Pink Eyes” Abraham was leaning into the crowd, offering his mic to anyone willing to bellow. Over the next hour he walked through the crowd, encouraging hugs, high fives and anything else to encourage fans and make them feel like part of the performance.

Damian “Pink Eyes” Abraham displays an intense delight at the Riot Room.

Although the themes in its music can be dark, the atmosphere is entirely positive. During “The Other Shoe,” Abraham got the entire room singing the chorus. A room full of people singing the words “dying on the inside” never felt so upbeat and optimistic.

His vocals are screamed, but the delivery is more out of enthusiasm than anger. While hardcore punk can quickly become numbing in the wrong hands, F’ed Up is surprisingly melodic. The backing vocals from bass player Sandy “Mustard Gas” Miranda and guitarist Ben Cook go a long way toward tempering Abraham’s abrasive technique. The band is also unafraid to show it’s classic rock influences. The three-guitar attack during “Under My Nose” recalled Thin Lizzy. Later, drummer Jonah Falco  quoted Keith Moon’s drum pattern from “Won’t Get Fooled Again” while Abraham twirled his microphone a la Roger Daltrey.

Anticipation was high for F’ed Up’s set. They were talked up by Mission of Burma on Friday night, and the one-in, one-out policy went into effect hours earlier, generating a line to the door that stretched to the corner. Once inside, from the lip of the stage to the back of the bar, everyone seemed mesmerized.

Of the seven bands on the Riot Room’s lineup for Saturday, all but two acts were part of the local music scene. The Chicago-quartet A Lull delivered a set of dreamy, atmospheric music that included the moving “Some Love.” Longtime hardcore/metal mainstays Coalesce were given the final slot before F’ed Up. Singer Sean Ingram successfully cleared a good portion of the crowd from the stage simply by testing his mic.

The band’s intense 40-minute set polarized the room between dedicated fans gathered by the stage, and the rest of the room, politely waiting for the headliner. At one point, guitarist Jes Steineger lept from the stage and played while hanging from the rafter above the crowd.

Keep reading:

Dischord finds harmony in D.C. hardcore scene

Review – Greg Ginn and the Taylor Texas Corrugators

Review: “The Art of the LP”

Top 10 albums of 2011 (in haiku)

(Above: Wiz Khalifa’s “Rolling Papers” did not make TDR’s Top 10 list, but was one of its most-played and -enjoyed albums of 2011. Don’t hate, dance.)

By Joel Francis
The Daily Record

Every music dork with a laptop is publishing their Top 10 list right now, but who else does it in haiku? Enjoy.

The Black Keys – “El Camino”

Building on “Brothers,”
pair trades blues for classic rock
with pal Dangermous.

The Roots – “undun”

Best band on TV,
builds challenging song cycle,
from flatline to birth.

F*cked Up – “David Comes Alive”

Like being hit with
a sledgehammer while feet are
ticked with feathers.

Big K.R.I.T. – “Return to 4Eva”

The South finally
joins the Native Tongue movement.
Backpackers rejoice.

Stalley – “Lincoln Way Nights”

Thoughtful baller makes
Intelligent Trunk Music,
blue collar portraits.

Wild Flag – “Wild Flag”

“Portlandia” star
pairs with fellow grrls to make
punk for NPR.

Raphael Saadiq – “Stone Rollin'”

Soul sound moves to ’70s.
Norman Whitfield, Sly Stone
Don’t call it neo-soul.

Hanni El Khatib – “Will the Guns Come Out”

Raw rock on Stones Throw
Does Elvis, Louis Jordan
by J. White, Stooges.

M83 – “Hurry Up, We’re Dreaming”

Two mine catalog:
Gabriel goes orchestral,
Frenchman goes retro.

Wilco – “The Whole Love”

Band finally brings
live energy to LP.
Best since “Ghost,” “Sum. Teeth.”

Read more haikus

Top 10 albums of 2010

Top 10 Albums of 2009

 

Top 10 Albums of 2008