The Mid-Year Play List
It’s amazing how in some cases, time can stand still, and in others, it seems to fly by. The genesis of this list, definitely stems from the latter. From time to time, I struggle with a bit of writers exhaustion, my self-described deference to the word “block”. While putting together the top 10 of the 90s list, I suddenly felt this exhaustion. I WANT to write about #6….but the words are just coming out tired. So, Plan B as it may be, is to reflect back on the speedy half year of music and develop a summer play list. As most of you know, I am not the world’s biggest digital music connoisseur, as I would rather hold a record in hand, study the cover art, pour over the liner notes, and watch the needle of a turntable move closer and closer to the middle of the black circle. That said, I TOTALLY get the appeal of Spotify, Tidal..etc… for everyday consumption. In that spirit, what follows is a “one song per artist” list of my favorite songs of the first half of 2016….and yes….one of them IS in digital form on my iPhone. (and in the spirit of every mixed tape/CD I ever made, I also tracked the list for listening pleasure and cohesion purposes. Shuffle as you wish)
Pinegrove – Old Friends (from the album “Cardinal”)
Atop (the close relative of upon) most critics "best of the year" lists...with very due cause.
Steve Gunn – Ancient Jewels (from the album “Eyes On The Lines”)
I worried a few songs into this release, that I accidently bought a Dead and Friends record...still not sure to be honest...
Weezer – California Kids (from the album “Weezer – the White Album”)
Rivers and the boys take their talents to South Beach...er... Cali.
Mudcrutch – Beautiful World (from the album “Mudcrutch2”)
Surprisingly, my favorite from the record is not a Petty-led tune. And that's, ok.
Catfish And The Bottleman – 7 (from the album “The Ride”)
Is this the newest act to try and claim the UK throne? Wonder how they feel about BrExit....
case/lang/veirs – Best Kept Secret (from the album “case/lang/veris”)
"Who are three women who have never been in my kitchen, Alex"
Band Of Horses – Casual Party (from the album “Why Are You Ok”)
When I usually think Band of Horses, upbeat pop number falls about 34257th on the list of things i think...
Nada Surf – Cold To See Clear (from the album “You Know Who You Are”)
Matthew Caws and company return with a dynamic record opener...and a video ode to PowerPoint
Bob Mould – You Say You (from the album “Patch The Sky”)
Honestly, I could have chosen any of the first 4 songs of the album...and changed my mind a few times.
Nothing – A.C.D. (from the album “Tired Of Tomorrow”)
Still probably at the top of my list for record of the year...but, you know, 6 more months to go...
Real Friends – Mess (from the album “The Home Inside My Head”)
Token pop-punk tune for the list, other wise known as "Preston's ears perk up"
Into It Over It – Closing Argument (from the album “Standards”)
One of the best names for a band going...even if it really is just one dude making all of the music...
The Hotelier – You In This Light (from the album “Goodness”)
Winner for the coveted "Record Cover I'm embarrassed to have out and displayed in my home" award...but a damn catchy album
Gaz Coombes –Detroit (from the album “Matador”)
Going by the U.S. release date on this one, as it has been a hit in the UK for about a year now...
Radiohead – Daydreaming (from the album “A Moon Shaped Pool”)
Could have gone a few different ways off of this masterpiece of a return from Yorke and Co.
Paul Simon – Insomniac’s Lullaby (from the album “Stranger To Stranger”)
Still AWESOME after all these years...probably crazy too. And shorter, I really think he is shrinking...
So, there it is....
I like ending on a slow, soft, "goodbye" note, and the newest from Paul Simon does just that.
But....
What if we wanted to keep it going....
...and end on the perfect summer song?
YES!!!!!
Justin Timberlake – Can’t Stop The Feeling (single edition)
Two words...Man Crush...
Tuesday, June 21, 2016
Friday, June 10, 2016
My Take On.....The Top 10 Albums of the 1990s - #7
Ah….time….how precious it is. And, in some cases, what we like to forget. Moments in our memories that somehow include: Koosh Balls, Birkenstocks, overalls, 90210 and (shudder) DIAL-UP ISPs. But, luckily, the MUSIC of the 1990s made a more promising, indelible mark, and in the case of some, live on as classic art in the truest sense. Welcome back, as I continue to countdown the top 10 albums of the 90s. In case you missed them, here’s what has come to pass so far.
First Post – Numbers 10 and 9
Second Post – Number 8
To quote the universal heartthrobs known as Color Me Badd…Thinkin’ Back…
7: Oasis – (What’s the Story) Morning Glory
Since I got the obscure pick out of the way at #10, why not go high and inside and deliver the (maybe) controversial one here. Look, I get it, they check ALL of the boxes why a vast majority would dislike a band:
Obnoxious Lead Singer? – CHECK
Sound a little TOO much like a seminal 60’s band? – Oh My Gosh BOLD MARKER CHECK
Proclaim to be the biggest band in the world? – probably since they were in a garage CHECK
(and in this distinct time frame) NOT Dave Mathews? - What Would You Say! CHECK
I’m nodding along with you, I totally understand….but here’s the thing. All that, whether put to the side or glared at directly, does not take away from the simple fact, that this is not only a tremendous piece of work, but was groundbreaking(ish). It can be argued, that up until the point that "Live Forever" (from the debut record Definitely Maybe) made some noise on U.S. terrestrial radio, (ask your folks, kids) there REALLY hadn’t been a British band that cracked the code for about 10-15 years.
Because of some of the records that came out in the 80s, and others we will talk about later down (up?) the list, the American 20-something was listening to more “alternative rock” than just about any other genre. And in that alternative town, there were many streets: Grunge Blvd, TrippyJam Ave, Jangley St….and Oasis with THIS record, started to pave BritPop Road. Were there other UK bands with them trying to grab the asphalt to pour? Sure! Blur with Song 2 (or, as most refer to it…the WHOOHOO song) was a decent radio hit, but in the U.S. ranks right alongside Tommy Tutone’s Jenny for one hit wonders. Stone Roses TRIED to win over a stateside audience by totally changing their sound with Love Spreads. Those of us who loved them from the first album (in my top 10 of the 1980s) recoiled at the Zepplin-like departure; those who didn’t know them, save for the hype, cast them astray.
So, in a way, it’s even more astounding that this band, with ALL of those check marks I pointed out earlier, was able to take the momentum from their first release, and build on it tremendously.
Morning Glory is a band at full throttle, putting care into every note, every beat, every measure of sound. It produced not one, but TWO #1 singles on the Billboard Modern Rock chart. “Wonderwall”, the first of these, is a standout track. Straightforward in its simplicity, it draws the listener in from the jump, with the recognizable Noel Gallagher (the nicer? of the two brothers) guitar setting the tone, before Liam’s (yup, he would be the bad brother) distinct voice (rasp and whine…oooooh that would be a GREAT name for a 2016 post-rock indie band from Idaho!) comes over the top. It’s not tricky, it’s not overt, but damn does it grab you instantly and not let go. The other chart topper, “Champagne Supernova”, to me, is even better. A composition written for (UK) stadiums, with psychedelic over AND undertones, (the music is Sgt. Peppers 101…in the best way possible) to be enjoyed as it washes over the listener, and starts to invade the part of them that FEELS the song. And really, if you can weave in an image of a cannonball rolling in a hallway, how can you go wrong? The record is not just those songs however. “Roll With It” “Some Might Say” and “Don’t Look Back In Anger” not only received moderate radio exposure, but became live set staples for a decade-plus for the band. Is there filler? Yes, but even that is pretty good for filler sake. Sadly, like the band at #8 on my list, this would be the zenith for Oasis.
The subsequent releases, while having very high highs, did not have the mass appeal that one (read: LIAM) would have hoped or thought they deserved/earned. (I will say as an aside, I do believe Standing on the Shoulder of Giants is a much better record than it gets credit for) If you haven’t listened to Morning Glory in a while, I would implore you to give it a spin, it might be better than you remembered…
….or the checks in the boxes may still get in the way.
Comments? Hit me up on:
twitter @dougplourd or @notetationdoug
email notetation@gmail.com
facebook facebook.com/notetation
Coming Up NEXT :
A band starts version 2.0 of themselves…
First Post – Numbers 10 and 9
Second Post – Number 8
To quote the universal heartthrobs known as Color Me Badd…Thinkin’ Back…
7: Oasis – (What’s the Story) Morning Glory
Since I got the obscure pick out of the way at #10, why not go high and inside and deliver the (maybe) controversial one here. Look, I get it, they check ALL of the boxes why a vast majority would dislike a band:
Obnoxious Lead Singer? – CHECK
Sound a little TOO much like a seminal 60’s band? – Oh My Gosh BOLD MARKER CHECK
Proclaim to be the biggest band in the world? – probably since they were in a garage CHECK
(and in this distinct time frame) NOT Dave Mathews? - What Would You Say! CHECK
I’m nodding along with you, I totally understand….but here’s the thing. All that, whether put to the side or glared at directly, does not take away from the simple fact, that this is not only a tremendous piece of work, but was groundbreaking(ish). It can be argued, that up until the point that "Live Forever" (from the debut record Definitely Maybe) made some noise on U.S. terrestrial radio, (ask your folks, kids) there REALLY hadn’t been a British band that cracked the code for about 10-15 years.
Because of some of the records that came out in the 80s, and others we will talk about later down (up?) the list, the American 20-something was listening to more “alternative rock” than just about any other genre. And in that alternative town, there were many streets: Grunge Blvd, TrippyJam Ave, Jangley St….and Oasis with THIS record, started to pave BritPop Road. Were there other UK bands with them trying to grab the asphalt to pour? Sure! Blur with Song 2 (or, as most refer to it…the WHOOHOO song) was a decent radio hit, but in the U.S. ranks right alongside Tommy Tutone’s Jenny for one hit wonders. Stone Roses TRIED to win over a stateside audience by totally changing their sound with Love Spreads. Those of us who loved them from the first album (in my top 10 of the 1980s) recoiled at the Zepplin-like departure; those who didn’t know them, save for the hype, cast them astray.
So, in a way, it’s even more astounding that this band, with ALL of those check marks I pointed out earlier, was able to take the momentum from their first release, and build on it tremendously.
Morning Glory is a band at full throttle, putting care into every note, every beat, every measure of sound. It produced not one, but TWO #1 singles on the Billboard Modern Rock chart. “Wonderwall”, the first of these, is a standout track. Straightforward in its simplicity, it draws the listener in from the jump, with the recognizable Noel Gallagher (the nicer? of the two brothers) guitar setting the tone, before Liam’s (yup, he would be the bad brother) distinct voice (rasp and whine…oooooh that would be a GREAT name for a 2016 post-rock indie band from Idaho!) comes over the top. It’s not tricky, it’s not overt, but damn does it grab you instantly and not let go. The other chart topper, “Champagne Supernova”, to me, is even better. A composition written for (UK) stadiums, with psychedelic over AND undertones, (the music is Sgt. Peppers 101…in the best way possible) to be enjoyed as it washes over the listener, and starts to invade the part of them that FEELS the song. And really, if you can weave in an image of a cannonball rolling in a hallway, how can you go wrong? The record is not just those songs however. “Roll With It” “Some Might Say” and “Don’t Look Back In Anger” not only received moderate radio exposure, but became live set staples for a decade-plus for the band. Is there filler? Yes, but even that is pretty good for filler sake. Sadly, like the band at #8 on my list, this would be the zenith for Oasis.
The subsequent releases, while having very high highs, did not have the mass appeal that one (read: LIAM) would have hoped or thought they deserved/earned. (I will say as an aside, I do believe Standing on the Shoulder of Giants is a much better record than it gets credit for) If you haven’t listened to Morning Glory in a while, I would implore you to give it a spin, it might be better than you remembered…
….or the checks in the boxes may still get in the way.
Comments? Hit me up on:
twitter @dougplourd or @notetationdoug
email notetation@gmail.com
facebook facebook.com/notetation
Coming Up NEXT :
A band starts version 2.0 of themselves…
Wednesday, June 8, 2016
My Take On.....The Top 10 Albums of the 1990s - #8
As we continue our journey back to the 1990s, and the wonderful music it brought, a link to the 1st post in this series. The criteria, the honorable mentions, and #10 and #9.
10+9
To quote the seminal artist Shannon…..Let the Music Play….
8: Smashing Pumpkins – Siamese Dream
The first of a few “know the moment” records for me on this list. Let me explain…
Working in college radio at the time (as well as drumming in my college band Pale Kellys), I had become well aware of the buzz surrounding Smashing Pumpkins very early on. The release of their debut, Gish on tiny Caroline Records, did little to dent the mainstream, barely cracking the Billboard 200 weekly list (at 196…for all of one week). However, college radio SWARMED to it, playing and re-playing “hits” like Siva and Rhinoceros, partly because of the sound, and partly to be ahead of the potential next big thing. The music world buzzed (swarm, now buzz….bee theme?) a bit more, fueled by the success of the “grunge” movement, to ALSO find that elusive thing.
Word started to filter out through publications such as College Music Journal, that the Chicago based group would be working with Butch Vig (again), heading to remote Georgia (the state) and would be releasing the follow up record on Virgin (the record label). For a while, that’s all that was known, save for stories of the number of labels that wanted to be “the one” to get the major label debut. (as it is, Virgin records was a partner of the much smaller Caroline…so they didn’t stray too far). After some time (and much discussed turmoil while recording) the first single was announced, and weeks later, subsequently shipped to college radio. My “know the moment”: I was the music director at the time, and knew what was (pretty much) in every padded envelope that we received on a Monday or Tuesday. When I saw the Virgin Records logo in the upper left hand corner, I knew what I was holding. With the strength of Superman (ok…just go with me on that one) I ripped it open, marveled at the CD single cover art (a toddler in sepia tone) and BEGGED the on-air host to abandon whatever it was he was about to play next. (knowing this guy, I spared the campus of another Rick Astley 3-fer…) “Cherub Rock” started with a very simple snare drum roll….twice…followed by a light guitar, and for the first 6 seconds, I thought “oh no, did they tone it down?”, and by the time the word “down” hit my mind, I had the answer, as the already-trademark fuzz and power of the Iha/Corgan guitar duo came roaring through. At that moment, I knew what (the world) I had been waiting for, was going to be just fine.
Weeks later, Siamese Dream was released to a much broader audience, with much greater success (Billboard top 10) than its predecessor. The carrying thing for the Pumpkins on this record, is very obvious: they do loud boisterous, yet the soft sublime….and most times within the same track. Look no further than the singles released. “Mayonnaise”, “Rocket”, “Today”, all have moments blissfully edging the abyss of silence before roaring with the fury of a million watts. Throughout the entire scope of the record, front to back, the songs layer and unfurl simultaneously, all fueled by the distinctive drum sound, the power guitar chords, and the unmistakable Billy Corgan snarl.
Sadly, this would be the apex for the band, as the next record, Mellon Collie and the Infinite Sadness (an overblown grab at greatness that fell quite short) all the way to the most recent Monuments to an Elegy (ugh…akin to Rocky V, let’s just pretend it didn’t happen) have never been at or NEAR the level that Siamese Dream propelled them in the direction of. And that, is a shame, as if the path had continued, we could be looking back at one of the greatest rock bands of the past 30 years. Instead, we at LEAST have this. Thankfully.
Comments? Hit me up on:
twitter @dougplourd or @notetationdoug
email notetation@gmail.com
facebook facebook.com/notetation
Coming Up NEXT :
We go abroad, across the pond, anticipate the invasion….pick your cliché!
10+9
To quote the seminal artist Shannon…..Let the Music Play….
8: Smashing Pumpkins – Siamese Dream
The first of a few “know the moment” records for me on this list. Let me explain…
Working in college radio at the time (as well as drumming in my college band Pale Kellys), I had become well aware of the buzz surrounding Smashing Pumpkins very early on. The release of their debut, Gish on tiny Caroline Records, did little to dent the mainstream, barely cracking the Billboard 200 weekly list (at 196…for all of one week). However, college radio SWARMED to it, playing and re-playing “hits” like Siva and Rhinoceros, partly because of the sound, and partly to be ahead of the potential next big thing. The music world buzzed (swarm, now buzz….bee theme?) a bit more, fueled by the success of the “grunge” movement, to ALSO find that elusive thing.
Word started to filter out through publications such as College Music Journal, that the Chicago based group would be working with Butch Vig (again), heading to remote Georgia (the state) and would be releasing the follow up record on Virgin (the record label). For a while, that’s all that was known, save for stories of the number of labels that wanted to be “the one” to get the major label debut. (as it is, Virgin records was a partner of the much smaller Caroline…so they didn’t stray too far). After some time (and much discussed turmoil while recording) the first single was announced, and weeks later, subsequently shipped to college radio. My “know the moment”: I was the music director at the time, and knew what was (pretty much) in every padded envelope that we received on a Monday or Tuesday. When I saw the Virgin Records logo in the upper left hand corner, I knew what I was holding. With the strength of Superman (ok…just go with me on that one) I ripped it open, marveled at the CD single cover art (a toddler in sepia tone) and BEGGED the on-air host to abandon whatever it was he was about to play next. (knowing this guy, I spared the campus of another Rick Astley 3-fer…) “Cherub Rock” started with a very simple snare drum roll….twice…followed by a light guitar, and for the first 6 seconds, I thought “oh no, did they tone it down?”, and by the time the word “down” hit my mind, I had the answer, as the already-trademark fuzz and power of the Iha/Corgan guitar duo came roaring through. At that moment, I knew what (the world) I had been waiting for, was going to be just fine.
Weeks later, Siamese Dream was released to a much broader audience, with much greater success (Billboard top 10) than its predecessor. The carrying thing for the Pumpkins on this record, is very obvious: they do loud boisterous, yet the soft sublime….and most times within the same track. Look no further than the singles released. “Mayonnaise”, “Rocket”, “Today”, all have moments blissfully edging the abyss of silence before roaring with the fury of a million watts. Throughout the entire scope of the record, front to back, the songs layer and unfurl simultaneously, all fueled by the distinctive drum sound, the power guitar chords, and the unmistakable Billy Corgan snarl.
Sadly, this would be the apex for the band, as the next record, Mellon Collie and the Infinite Sadness (an overblown grab at greatness that fell quite short) all the way to the most recent Monuments to an Elegy (ugh…akin to Rocky V, let’s just pretend it didn’t happen) have never been at or NEAR the level that Siamese Dream propelled them in the direction of. And that, is a shame, as if the path had continued, we could be looking back at one of the greatest rock bands of the past 30 years. Instead, we at LEAST have this. Thankfully.
Comments? Hit me up on:
twitter @dougplourd or @notetationdoug
email notetation@gmail.com
facebook facebook.com/notetation
Coming Up NEXT :
We go abroad, across the pond, anticipate the invasion….pick your cliché!
Thursday, June 2, 2016
My Take On......My Top 10 Albums Of The 1990s - #10 and 9
Well, it took me long enough! After writing my Top 10 Albums of the 1980s a few years back, it seemed to me that this list would come easily and I could bang it out in no time at all. Funny, it didn’t work out that way at all. AT ALL! However, after going down a rabbit hole of music right before the turn of the New Year, I was suddenly inspired to finally do the write up.
But then I remembered…..
My original ranking document resides on a VERY dead computer that occupies space in my garage. So, despite my go-getter attitude, I had to start from square one, which meant compiling a list of about 30 or so records from the decade, whittling it down to 15 or so, and then the arduous task of actually RANKING them. For some reason, I take this WAY too seriously. As if I was writing a Pulitzer quality piece for Spin or Rolling Stone. In the grand scheme, MAYBE 300 people will look at this, and 298 will disagree vehemently, and I am sorry for that, but you know what? I just love music. ESPECIALLY this decade, as I was the program/music director of my college radio station for the first 3 years (which may be quite evident when you get to the end of this) and really consider the 90’s as the “lost decade” of incredible music.
Once I was able to get the list down to 16, the ranking process started. And this list, unlike any other I have ever done, has two VERY distinct personalities to it. The first, the bottom half (6-10) could be replaced by any of the honorable mentions (11-16) and I wouldn’t blink twice. I could argue ANY of the 6 left off to be put on, and vice versa. In the end though, I am quite happy with how my brain stopped the hamster wheel. The second personality? The top 5 has ALWAYS been the top 5, so that part was very simple. However, the ORDER, truly, depends on the day of the week, which pants I am wearing, how my morning coffee (carafe…..I wrote “pot” at first, considered the audience, changed it accordingly) was….you get the picture. For me, these five ALL have personal meaning, a story behind them, and are beloved by me in a #1 way. Alas, like anything, they can’t all occupy the top spot, so an order is what I came up with. And I struggled with THAT, as I questioned myself, how much do I take into account:
Commercial Success
Groundbreaking/Cultural Relevance
Personal Taste
I will dive into those criteria and more as the list goes on, and I think I found the balance that I am pleased with.
And that, of course, leads me to THE disclaimer that I always feel the need to write. This is MY list. I don’t look at other lists, I don’t feel the need to rank something because everyone else did (I am looking at you Beck and Lauren Hill), and I understand that my tastes may vary from yours. And that….is OK! That’s the fun of this. What I feel is genius, you may feel needs to be in the bargain bin. What you think is the second coming of *insert your favorite ‘70s band/record*, I may see it as the first coming of Seals and Croft. And again, that’s ok.
As always, the normal Doug List rules apply:
No Live Records
No “Best Ofs”
No Comps
Before I dive into the top 10, a quick recognition of the 6 honorable mentions with a sentence for each:
Ride-Nowhere As fine a shoegaze album ever made. …except maybe the one that landed in the top 10.
Green Day – Dookie Pop – Punk brought to the forefront on their major label debut.
My Bloody Valentine – Loveless A couple of the records ranked in the top 10 would never have been made / been as good if it were not for this groundbreaking noise.
Radiohead – The Bends Leads off with such an incredible three-song run, it was tough to leave off the top 10.
Peter Gabriel – Us The case where one REALLY bad song (Kiss That Frog) can make me turn a LITTLE bit on an entire piece.
Beastie Boys – Check Your Head If it didn’t have as much filler material, and maybe one more top notch song, it would have a number in front of it in this post
10: Catherine Wheel – Ferment
Right from the jump, we start with a record that many people either A) don’t know or B) don’t know. Catherine Wheel, while finding a modicum of commercial success on their third album (Happy Days with the MTV favorites Waydown and Judy Staring At The Sun) in the United States, debuted to large success in their home UK with this tremendous offering. Lead singer Rob Dickenson (yes-related to Iron Maiden’s Bruce Dickenson / no-the bands do not sound alike) and his band mates used heavy guitar fuzz, a pounding rhythm section, and Rob’s unique voice, to create a wall of sound not unlike their peers in the same genre. However, while most shoegaze records had a consistent feel throughout, Ferment took twists and turns as the tracks unfolded. Black Metallic in particular, is a 7 minute anthem of pure joy that takes the listener on a one-of-a-kind ride. While the band never really DID find its elusive American ears that other British bands did mid-decade, they continued to produce quality records throughout the 1990s. This, their debut, was their absolute best.
9: Metallica – Metallica (The Black Album)
While I don’t find myself leaning towards the HEAVY of heavy metal, this record is an absolute must to include in any discussion regarding albums of the 90s. Lifelong Metallica fans have a tendency to scoff at the commercial aspect of this masterpiece (it sold over 650,000 copies in its first week state-side…..actual hold-in-hand sales, not digital downloads, which skew sales numbers in my opinion) as well as trumpet Master of Puppets as the much better album. Look, I get it. I get that way about some of my favorite bands and the lesser commercial records. However, you can’t overlook what this album meant to the world of rock music. The dynamic was already shifting (more on that to come) to a different sound, and James Hetfield and company put their stake in the ground, and did it on THEIR terms. And then, there is this…..have you EVER heard Enter Sandman and NOT sung (in an as-angry-as-possible tone) the chorus? (not to mention that the song is a baseball staple with Mariano Rivera using it as his 9th inning music) There is something to be said about that, something that transcends what a song “is” v. what a song “means”.
Comments? Hit me up on:
twitter @dougplourd or @notetationdoug
email notetation@gmail.com
facebook facebook.com/notetation
Coming Up NEXT :
A major label debut after a very large bidding war.....
But then I remembered…..
My original ranking document resides on a VERY dead computer that occupies space in my garage. So, despite my go-getter attitude, I had to start from square one, which meant compiling a list of about 30 or so records from the decade, whittling it down to 15 or so, and then the arduous task of actually RANKING them. For some reason, I take this WAY too seriously. As if I was writing a Pulitzer quality piece for Spin or Rolling Stone. In the grand scheme, MAYBE 300 people will look at this, and 298 will disagree vehemently, and I am sorry for that, but you know what? I just love music. ESPECIALLY this decade, as I was the program/music director of my college radio station for the first 3 years (which may be quite evident when you get to the end of this) and really consider the 90’s as the “lost decade” of incredible music.
Once I was able to get the list down to 16, the ranking process started. And this list, unlike any other I have ever done, has two VERY distinct personalities to it. The first, the bottom half (6-10) could be replaced by any of the honorable mentions (11-16) and I wouldn’t blink twice. I could argue ANY of the 6 left off to be put on, and vice versa. In the end though, I am quite happy with how my brain stopped the hamster wheel. The second personality? The top 5 has ALWAYS been the top 5, so that part was very simple. However, the ORDER, truly, depends on the day of the week, which pants I am wearing, how my morning coffee (carafe…..I wrote “pot” at first, considered the audience, changed it accordingly) was….you get the picture. For me, these five ALL have personal meaning, a story behind them, and are beloved by me in a #1 way. Alas, like anything, they can’t all occupy the top spot, so an order is what I came up with. And I struggled with THAT, as I questioned myself, how much do I take into account:
Commercial Success
Groundbreaking/Cultural Relevance
Personal Taste
I will dive into those criteria and more as the list goes on, and I think I found the balance that I am pleased with.
And that, of course, leads me to THE disclaimer that I always feel the need to write. This is MY list. I don’t look at other lists, I don’t feel the need to rank something because everyone else did (I am looking at you Beck and Lauren Hill), and I understand that my tastes may vary from yours. And that….is OK! That’s the fun of this. What I feel is genius, you may feel needs to be in the bargain bin. What you think is the second coming of *insert your favorite ‘70s band/record*, I may see it as the first coming of Seals and Croft. And again, that’s ok.
As always, the normal Doug List rules apply:
No Live Records
No “Best Ofs”
No Comps
Before I dive into the top 10, a quick recognition of the 6 honorable mentions with a sentence for each:
Ride-Nowhere As fine a shoegaze album ever made. …except maybe the one that landed in the top 10.
Green Day – Dookie Pop – Punk brought to the forefront on their major label debut.
My Bloody Valentine – Loveless A couple of the records ranked in the top 10 would never have been made / been as good if it were not for this groundbreaking noise.
Radiohead – The Bends Leads off with such an incredible three-song run, it was tough to leave off the top 10.
Peter Gabriel – Us The case where one REALLY bad song (Kiss That Frog) can make me turn a LITTLE bit on an entire piece.
Beastie Boys – Check Your Head If it didn’t have as much filler material, and maybe one more top notch song, it would have a number in front of it in this post
10: Catherine Wheel – Ferment
Right from the jump, we start with a record that many people either A) don’t know or B) don’t know. Catherine Wheel, while finding a modicum of commercial success on their third album (Happy Days with the MTV favorites Waydown and Judy Staring At The Sun) in the United States, debuted to large success in their home UK with this tremendous offering. Lead singer Rob Dickenson (yes-related to Iron Maiden’s Bruce Dickenson / no-the bands do not sound alike) and his band mates used heavy guitar fuzz, a pounding rhythm section, and Rob’s unique voice, to create a wall of sound not unlike their peers in the same genre. However, while most shoegaze records had a consistent feel throughout, Ferment took twists and turns as the tracks unfolded. Black Metallic in particular, is a 7 minute anthem of pure joy that takes the listener on a one-of-a-kind ride. While the band never really DID find its elusive American ears that other British bands did mid-decade, they continued to produce quality records throughout the 1990s. This, their debut, was their absolute best.
9: Metallica – Metallica (The Black Album)
While I don’t find myself leaning towards the HEAVY of heavy metal, this record is an absolute must to include in any discussion regarding albums of the 90s. Lifelong Metallica fans have a tendency to scoff at the commercial aspect of this masterpiece (it sold over 650,000 copies in its first week state-side…..actual hold-in-hand sales, not digital downloads, which skew sales numbers in my opinion) as well as trumpet Master of Puppets as the much better album. Look, I get it. I get that way about some of my favorite bands and the lesser commercial records. However, you can’t overlook what this album meant to the world of rock music. The dynamic was already shifting (more on that to come) to a different sound, and James Hetfield and company put their stake in the ground, and did it on THEIR terms. And then, there is this…..have you EVER heard Enter Sandman and NOT sung (in an as-angry-as-possible tone) the chorus? (not to mention that the song is a baseball staple with Mariano Rivera using it as his 9th inning music) There is something to be said about that, something that transcends what a song “is” v. what a song “means”.
Comments? Hit me up on:
twitter @dougplourd or @notetationdoug
email notetation@gmail.com
facebook facebook.com/notetation
Coming Up NEXT :
A major label debut after a very large bidding war.....
Tuesday, May 31, 2016
2016 Record Review - Nothing "Tired Of Tomorrow"
As I ponder, just how to start this review, a phrase keeps playing in my head: Thank goodness for record stores. Let me explain…
Back in 2014, I was perusing my local Newbury comics, and my guy, the 20-something in touch with all things “new” in the rock world, suggested a title from a band with the conspicuous name, Nothing. The record, Guilty of Everything (which, OMG SPOILER ALERT, ended up being my top album of 2014) was a throwback of sorts to a bygone era (I make it sound Mesozoic...in fact, more like the early 90s) where bands of a certain sound, picked up the moniker of “shoegaze”, as they had a stage presence in that they could tell you what sneakers they were wearing at ANY point in a performance. I love bands of this ilk, going back to Ride, Catherine Wheel, Pale Saints et al. Over the course of a few months, I listened to that debut LP time and time again, delighting in the nuance, swirling in the melodies. And as often happens, my love for one record, became my undying thirst for the next. Patiently, I waited, until in January of 2016, this video crossed my twitter feed.
A grand total of 55 seconds of music, a scant minute of wall to wall sound, and I was as ready as I could be for the May 13th release date…
…or so I thought.
There was no way I could have ever been ready for this. The record, Tired of Tomorrow, opens with the sublime “Fever Queen” (the same riff as heard in the teaser trailer above), a 3 minute explosion of sound that sets the absolute perfect tone for the listener to be taken on a ride. The guitars, enhanced and enabled by pedals of tone, emanate from speakers as if waves hitting the shore. Not to be outdone, the tight rhythm section holds the bottom (and beat) soundly. And then you hear the voice…or two. Founding member Nicky Palermo and Brandon Setta do more than perform the vocals, they own them. Where most duets have harmonies that complement, Palermo and Setta’s voices ENVELOP each other’s, whether at a whisper, or in dual, full voice. (This is a standard trope of sorts for bands of the 90s movement, such as Mark Gardner / Andy Bell in Ride….but never like this) The record continues with the ballad-of-sorts “The Dead are Dumb” (a fantastic song as well) and then a CRAZY thing happens as the needle moves inward more…the record veers off its previous “shoegaze” path, and takes a perfect turn to a different, more mid-90s (think Pumpkins) sound. “Vertigo Flowers”, the first single released from the album, still has the big guitars, the pounding drums, the harmonized goodness, but takes the shape of a more “traditional” rock song. And the elements, all mixed together and awash with color, come to fruition with staggering aplomb. (the song itself has a 90degree “turn” in it as well, another one of my favorite nuances in song) Another standout, “A.C.D.” continues the onslaught, as now the record transforms from a “what did I JUST hear?” to “what is NEXT??” situation. At this point, it’s apparent that on-the-rise super-producer, Will Yip, and band have put a lot of attention to detail in the tracking of the album, as (while not a concept record by any stretch) Side 1 unfolds as one big story, each song a wonderfully spun chapter. “Eaten By Worms” opens the second half, and it’s another assault on the ears, in the most pleasant way possible, transitioning from heavy guitar seamlessly to piano notes, all without skipping a beat. The record closes with a three song run that could fit on any rock album, of any genre, from the past 30 years. Showing the more “gentle” side as previously seen on their EP Downward Years to Come , yet nonetheless, as powerful as the seven tracks that proceeded them. The title track brings down the curtain, with, again, another zig to the previous zags. “Tired of Tomorrow” is a piano ballad (with strings) in the truest sense of the word. And in a(nother) word, it is magnificent. (here’s more words to describe it….haunting, stoic, stunning, etc…etc…) Throughout the record, the words may be sparse, but are steeped in depth. The pain of despair a theme throughout, yet the incredible melodies, musicianship, and vocals leave the listener with the feeling of hope more than any other.
Rating: 9.5 / 10 (an absolute “run-don’t-walk” situation) This is a record that defies labeling...it is NOT a shoegaze record, it is not post-punk, it is not "indie"...it's just masterful
Favorite Tracks: All of them. Seriously. (but start with A.C.D and Fever Queen)
Follow Them:
Twitter: @BandofNothing
Facebook Nothing
Side note: The making of the record has been documented in a 6 part YouTube series produced by the label, Relapse Records. It is a fascinating tale to be told. There is a LOT of history in this still-young band, and a TON of destiny in front of it.
Thanks for the read!
Follow me at:
Twitter: @dougplourd and @NoteTationDoug
Facebook: facebook.com/notetation
IG: @notetation
Email: Notetation@gmail.com
Back in 2014, I was perusing my local Newbury comics, and my guy, the 20-something in touch with all things “new” in the rock world, suggested a title from a band with the conspicuous name, Nothing. The record, Guilty of Everything (which, OMG SPOILER ALERT, ended up being my top album of 2014) was a throwback of sorts to a bygone era (I make it sound Mesozoic...in fact, more like the early 90s) where bands of a certain sound, picked up the moniker of “shoegaze”, as they had a stage presence in that they could tell you what sneakers they were wearing at ANY point in a performance. I love bands of this ilk, going back to Ride, Catherine Wheel, Pale Saints et al. Over the course of a few months, I listened to that debut LP time and time again, delighting in the nuance, swirling in the melodies. And as often happens, my love for one record, became my undying thirst for the next. Patiently, I waited, until in January of 2016, this video crossed my twitter feed.
A grand total of 55 seconds of music, a scant minute of wall to wall sound, and I was as ready as I could be for the May 13th release date…
…or so I thought.
There was no way I could have ever been ready for this. The record, Tired of Tomorrow, opens with the sublime “Fever Queen” (the same riff as heard in the teaser trailer above), a 3 minute explosion of sound that sets the absolute perfect tone for the listener to be taken on a ride. The guitars, enhanced and enabled by pedals of tone, emanate from speakers as if waves hitting the shore. Not to be outdone, the tight rhythm section holds the bottom (and beat) soundly. And then you hear the voice…or two. Founding member Nicky Palermo and Brandon Setta do more than perform the vocals, they own them. Where most duets have harmonies that complement, Palermo and Setta’s voices ENVELOP each other’s, whether at a whisper, or in dual, full voice. (This is a standard trope of sorts for bands of the 90s movement, such as Mark Gardner / Andy Bell in Ride….but never like this) The record continues with the ballad-of-sorts “The Dead are Dumb” (a fantastic song as well) and then a CRAZY thing happens as the needle moves inward more…the record veers off its previous “shoegaze” path, and takes a perfect turn to a different, more mid-90s (think Pumpkins) sound. “Vertigo Flowers”, the first single released from the album, still has the big guitars, the pounding drums, the harmonized goodness, but takes the shape of a more “traditional” rock song. And the elements, all mixed together and awash with color, come to fruition with staggering aplomb. (the song itself has a 90degree “turn” in it as well, another one of my favorite nuances in song) Another standout, “A.C.D.” continues the onslaught, as now the record transforms from a “what did I JUST hear?” to “what is NEXT??” situation. At this point, it’s apparent that on-the-rise super-producer, Will Yip, and band have put a lot of attention to detail in the tracking of the album, as (while not a concept record by any stretch) Side 1 unfolds as one big story, each song a wonderfully spun chapter. “Eaten By Worms” opens the second half, and it’s another assault on the ears, in the most pleasant way possible, transitioning from heavy guitar seamlessly to piano notes, all without skipping a beat. The record closes with a three song run that could fit on any rock album, of any genre, from the past 30 years. Showing the more “gentle” side as previously seen on their EP Downward Years to Come , yet nonetheless, as powerful as the seven tracks that proceeded them. The title track brings down the curtain, with, again, another zig to the previous zags. “Tired of Tomorrow” is a piano ballad (with strings) in the truest sense of the word. And in a(nother) word, it is magnificent. (here’s more words to describe it….haunting, stoic, stunning, etc…etc…) Throughout the record, the words may be sparse, but are steeped in depth. The pain of despair a theme throughout, yet the incredible melodies, musicianship, and vocals leave the listener with the feeling of hope more than any other.
Rating: 9.5 / 10 (an absolute “run-don’t-walk” situation) This is a record that defies labeling...it is NOT a shoegaze record, it is not post-punk, it is not "indie"...it's just masterful
Favorite Tracks: All of them. Seriously. (but start with A.C.D and Fever Queen)
Follow Them:
Twitter: @BandofNothing
Facebook Nothing
Side note: The making of the record has been documented in a 6 part YouTube series produced by the label, Relapse Records. It is a fascinating tale to be told. There is a LOT of history in this still-young band, and a TON of destiny in front of it.
Thanks for the read!
Follow me at:
Twitter: @dougplourd and @NoteTationDoug
Facebook: facebook.com/notetation
IG: @notetation
Email: Notetation@gmail.com
Monday, December 21, 2015
The BEST records of 2015 #10-1
As the year winds down, the conductor has left the stage, the music is fading out. While not as prolific as 2013, nor as top heavy as last year, 2015 offered a wide range of fun, diversified and fresh records, from artists new and old. What follows is my top 10 for the year. And while all are great in their own respect, the top album this year would not crack the top 4 (Elvis Costello, NIN, The Lonely Forest, Sterophonics) from 2013, nor the top 3 (Nothing, Elbow, Jack White) of 2014.
A couple of quick points before we move forward:
• You will not find Adele on this list. I can only rank/review the records I purchased and were released during the calendar year, and as much as I find her voice tremendous, and her material well rounded, I did not pick up 25.
• As always, and I include this with ANY list I create, this is PURELY subjective, and MY list. I do not look at any other year-end lists (other than an incidental click on twitter here or there) to base mine off of, nor do I fall along the “mainstream aisle” way of thinking. These are the records that I like. My goal, with any list I put together, is give you the reader, maybe ONE new band/album to listen to that you may never have heard of, or thought to seek out.
With that said, the normal rules apply:
No Comps
No “Live” records
No “Best Of” records
10: Stereophonics – “Keep The Village Alive”
9: Ben Folds – “So There”
8: Silversun Pickups – “Better Nature”
7: Faith No More – “Sol Invictus”
6: Sleater Kinney – “No Cities To Love”
5: Beach House – “Depression Cherry”
4: Guy Garvey – “Courting The Squals”
3: Death Cab For Cutie – “Kintsugi”
2: Jake Evans – “Day One”
1: Chvches – “Every Open Eye
A couple of quick points before we move forward:
• You will not find Adele on this list. I can only rank/review the records I purchased and were released during the calendar year, and as much as I find her voice tremendous, and her material well rounded, I did not pick up 25.
• As always, and I include this with ANY list I create, this is PURELY subjective, and MY list. I do not look at any other year-end lists (other than an incidental click on twitter here or there) to base mine off of, nor do I fall along the “mainstream aisle” way of thinking. These are the records that I like. My goal, with any list I put together, is give you the reader, maybe ONE new band/album to listen to that you may never have heard of, or thought to seek out.
With that said, the normal rules apply:
No Comps
No “Live” records
No “Best Of” records
10: Stereophonics – “Keep The Village Alive”
9: Ben Folds – “So There”
8: Silversun Pickups – “Better Nature”
7: Faith No More – “Sol Invictus”
6: Sleater Kinney – “No Cities To Love”
5: Beach House – “Depression Cherry”
4: Guy Garvey – “Courting The Squals”
3: Death Cab For Cutie – “Kintsugi”
2: Jake Evans – “Day One”
1: Chvches – “Every Open Eye
Friday, May 8, 2015
My Take On - I WENT to Letterman
So…….yeah……
So I have a day. A wonderful, GLORIOUS, TIRED day to soak it all in. Wonderful? Right, I think you get it. Glorious? Well sure, it WAS Dave. Tired? Well, that may need some explaining…..
See…I shared the day…well, no, let me correct that. The FABULOUS, WONDEFUL, BEAUTIFUL Keri let me share this day with her! As she arranged everything, pulled a string here and there, got us not only to VIP status, but subsequently to “that’s the VIP line to get in, let me lead you to your PERFECT seat selection prior” status. Here I am, going to the MOST IMPORTANT show of my lifetime (yes, it does eclipse SNL) and my perfect, wonderful, beautiful aMAZing partner…..has it all covered.
So we head into the Ed Sullivan Theater. Where the BEATLES debuted for goodness sake. And we watched, as First Aid Kit ran though their INCREDIBLE version of “America”…..3 times. Dress. Blocking. And OMGG, Biff Henderson running the blocking.
And it really hit me.
I am in the Ed Sullivan Theater
I am watching DRESS rehearsal of my idol’s show
The most amazing woman, who at the moment,was to my right (we usually make sure it’s the other way) is responsible for it all.
Every moment
Every second
KERI, is the reason.
Truly
And then, as the rest of the crowd gets seated, (we were early, as noted, so we watched 400 “non-VIP’ers” take their seats, including Chris Fowler from ESPN….it’s who you know buddy) the air was such a palpable WOW. I was here, the show I have been a follower of for 33 years, the MAN who was my idol, every day of that path….damn, the BAND, who was part of the entire run.
And here I was.
My Shrine
My Sanctuary
The INSTITUTION
And I watched in awe. Every segment, every break, every everything. Lights on? Lights off? Dave’s room. And while what you witness during a taping does not fully equate to what airs? Holy good God, it’s damn close.
This day, MY favorite day, happened because of Keri Arpino, and I could not be more happy. She took EVERYTHING I have ever told her about my “comedy career”, and made magic happen. So Thank You Keri. From the bottom of my heart. #watchthegap #ifyouseesomething and most importantly, #USBchampion
Thanks!
dp
So I have a day. A wonderful, GLORIOUS, TIRED day to soak it all in. Wonderful? Right, I think you get it. Glorious? Well sure, it WAS Dave. Tired? Well, that may need some explaining…..
See…I shared the day…well, no, let me correct that. The FABULOUS, WONDEFUL, BEAUTIFUL Keri let me share this day with her! As she arranged everything, pulled a string here and there, got us not only to VIP status, but subsequently to “that’s the VIP line to get in, let me lead you to your PERFECT seat selection prior” status. Here I am, going to the MOST IMPORTANT show of my lifetime (yes, it does eclipse SNL) and my perfect, wonderful, beautiful aMAZing partner…..has it all covered.
So we head into the Ed Sullivan Theater. Where the BEATLES debuted for goodness sake. And we watched, as First Aid Kit ran though their INCREDIBLE version of “America”…..3 times. Dress. Blocking. And OMGG, Biff Henderson running the blocking.
And it really hit me.
I am in the Ed Sullivan Theater
I am watching DRESS rehearsal of my idol’s show
The most amazing woman, who at the moment,was to my right (we usually make sure it’s the other way) is responsible for it all.
Every moment
Every second
KERI, is the reason.
Truly
And then, as the rest of the crowd gets seated, (we were early, as noted, so we watched 400 “non-VIP’ers” take their seats, including Chris Fowler from ESPN….it’s who you know buddy) the air was such a palpable WOW. I was here, the show I have been a follower of for 33 years, the MAN who was my idol, every day of that path….damn, the BAND, who was part of the entire run.
And here I was.
My Shrine
My Sanctuary
The INSTITUTION
And I watched in awe. Every segment, every break, every everything. Lights on? Lights off? Dave’s room. And while what you witness during a taping does not fully equate to what airs? Holy good God, it’s damn close.
This day, MY favorite day, happened because of Keri Arpino, and I could not be more happy. She took EVERYTHING I have ever told her about my “comedy career”, and made magic happen. So Thank You Keri. From the bottom of my heart. #watchthegap #ifyouseesomething and most importantly, #USBchampion
Thanks!
dp
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