Cold War Kids - Loyalty to Loyalty

Loyalty to Loyalty (2008, Downtown) Cold War Kids' second studio album. ****

Loyalty to Loyalty could be an album that will polarize fans and critics alike over the years. It doesn't seem to be bold enough to be considered classic, and since not all of the material is not as such, it's destined to be ripped apart. While Cold War Kids sound fairly confused on their sophomore album, they don't let that drag them down. Instead of trying to force a sound of progression or stick with what they already know, they make in album in the vein of how their minds have been working - in confusion. Loyalty to Loyalty sounds disjointed and even hesitant, but it doesn't seem intentional.

Nathan Willett's vocals are a cleaner version of Jack White's, and even on the romping "Something is Not Right With Me," his best emulation isn't always amusing. That's the thing about Loyalty to Loyalty, though. Even when not every band member has gotten something right, there's nothing really bad about anything they've done. And there are plenty of fantastic moments, like the opening jazziness of "Against Privacy," the deep guitar growls of "Mexican Dogs," or the soulfulness of the organ and piano-driven "Every Valley is Not a Lake." The album tends to slow down around the middle, and that's when a lot of people will probably lose interest in Willett's high tenor, but the non-sexy blues-swaying "Golden Gate Jumpers" and the unorthodox minimalism of "Every Man I Fall For" are fascinating bits when taken time to consider. I won't lie, most people will probably view Loyalty to Loyalty as a sophomore slump, but it's clearly a transitional album that should be given a few more looks.

TV on the Radio - Dear Science,

Dear Science, (2008, Interscope) TV on the Radio's third studio album. *****

TV on the Radio are not afraid to make radical shifts in their sound nor are they too independent-label minded to step up to the big stage. Dear Science, is a sprawling, adventurous album, eclectically mixed together to form a daring piece of indie and experimental rock. That genre is always a very difficult one to find any success in - let alone even make anything truly interesting. Most experimental rock bands never find a sound either A) worth listening to or B) controlled and rational. TV on the Radio have done so.

They don't waste time getting started, as the pulsing "Halfway Home" opens things up with a nonsensical "Ba ba baa ba bop" and a swirling drumbeat. As they approach the chorus, Tunde Adebimpe kicks in his falsetto as a wall of ambiance takes over the background. And what about "Crying"? This is the distant cousin of "Kiss" that Prince forgot to write. It's funky guitar and cymbal arrangement make it fun, and Adebimpe's soothing falsetto makes it another winner.

There's neo-soul and funk ("Dancing Choose" and "Red Dress"), heart-straining marching pop (Stork & Owl), and even a slow, melodic, piano piece ("Family Tree"). This isn't a concept album, and it's clear that this Dear Science, is to be taken one song at a time. What makes Dear Science, so amazing is not its attempt to be overly intelligent or overly catchy; these are well-crafted songs that came from the basics, morphed into complicated arrangements that can only be appreciated after several listens. TV on the Radio hit the ground running for sure, succeeding in flying colors to take the sounds that are all over the boards and shape them into one that is all without ever having sounded pretentious. Is Dear Science, the best album of the year? That's always a difficult one to answer. I'll say this - in a year where nothing has blown me away, this is probably the one that will knock me out in about two months. Right now, I know it's all there, I'm sure of it, I'm still waiting for it to sink in. (Halfway Home, Crying, Stork & Owl, Family Tree, Lover's Day)

Plain White T's - Big Bad World

Big Bag World (2008, Hollywood) Plain White T's fourth studio album. ***

Fans of Plain White T's will be pleased with a collection of moderately catchy songs with such 'deep' insights; the band knows how they feel, what it's like to have 'been there.' Problem is, the band's connection is only through generic renderings that only people without souls have never experienced. Take "Sunlight," a melodically pleasing song with a less-than-stellar message: "When you're all alone/Stuck in the dark/When you've lost your way in life/I won't be far." Wow.

Here's the kicker; Big Bad World isn't good enough to win any decent amount of critical praise, so snobby music buffs will continue to write them off. The band only has one hit, "Hey There Delilah," and there doesn't seem to be any material here that's nearly as memorable (or annoying) as that, though tracks like the bouncy pop of "Big Bad World," the indie-leaning "Natural Disaster," or the explosive guitar-and-harmonica play of "I Really Want You" might find airtime. That said, their fan base is already small, and the weaknesses of Big Bad World can't - logically, anyway - propel them any further. It's full of the cliches you'd expect from an emo band still trying to sound original, but it isn't garbage. If there's anything good about it, it doesn't have any painstakingly-irksome moments.

Inside Music Album Guide - 9/25/08

Inside Music Album Guide
The Walkmen stand tall, Buckcherry are Buckterrible
By Stephen Mason

The Walkmen – You & Me (Gigantic) 4.5 out of 5
The Walkmen have managed to create an album that’s nearly organic. From beginning to end, the aptly named You & Me talks about just that, the singer and the one important person in his life. Although never too descriptive as to how the relationship worked, we are never left in the dark. The Walkmen are never cryptic, they say what they mean to beautiful, honest effect. Martin’s signature Bob Dylan/Stevie Marriott vocals soar higher and higher, especially on the album’s strongest moment, “In the New Year,” and the rest of the band is in full swing. Maroon’s distorted guitar shuffle, Barrick’s pummeling drum rhythms, and Martin’s own churning church organ sounds make You & Me a piece of art that bares passion nakedly and proudly.

Jem – Down to Earth (ATO) 2.5 out of 5
Down to Earth is so in between audiences that it'll be lucky to ever find one. While with one foot Jem has stepped into electronica and hip-hop as heard on tracks like "Crazy" and "Aciiid!" she simultaneously has piano ballads appealing to teen-drama watching high schoolers like "You Will Make It." So guideless is this album that it's almost transparently clear that Jem is not concerned about making music she likes; she wants to make music that's cool. Cool to who? Wannabe art chicks who think this is more exciting than Feist? I can't say. What I can say is that Down to Earth is anything but, as it's aimlessly floating in outer space.

Noah and the Whale – Peaceful, the World Lays Me Down (Mercury) 3.5 out of 5
People looking for Arcade Fire imitators need look no further. On their debut, Noah and the Whale exercise the catchy, alternative rock sounds that Arcade Fire garnered from Bruce Springsteen while managing to throw in a decent amount of chamber pop. It’s an eclectic mix of strings over folky guitar, fueled by Charlie Fink’s unique lyrics of science and faith. On its surface, Peaceful is a batch of catchy songs that would lose their fire due to Fink’s less-than-convincing vocal performances, but on a deeper level it exercises themes of uncertainty – do you believe in God? Love? Don’t they go hand in hand? All probing questions that Fink asks and only sometimes chooses to answer.

Buckcherry – Black Butterfly (Atlantic) 1 out of 5
Either Buckcherry have no idea who their audience is or they’re embracing the batch of disgusting perverts who would enjoy this garbage. Black Butterfly is overflowing with generic riffs, gutter lyrics, and pure production sloppiness. The band’s singer, Joshua Todd, still has his Bon Scott/Chris Cornell vocals, but they sound flat over lyrics like “I hear talk about a non-stop flight to heaven/Can’t you just say you’re addicted to medicine?” What? It’s even worse on “Too Drunk” where Todd admits to being unable to perform in bed because of his intoxication. This is the anti-party album; it’s the overzealous guy at the party who no one likes. And in the world of Buckcherry, what happens when the party’s over? Morning comes to cheap white trash.

Noah and the Whale - Peaceful, the World Lays Me Down

Peaceful, the World Lays Me Down (2008, Mercury) Noah and the Whale's first studio album. ***1/2

On their debut, Noah and the Whale aren't trying to be revolutionary. And that's fine, it's rare that bands who attempt to be actually succeed, as most tend to try to be deeper than they really are. The band doesn't take a hands-off approach to themes, though, as Charlie Fink sings about the mysteries of love, science, and religion. He especially likes to connect the idea of God and love, contemplating on the idea that they are hand in hand. Fink asks, "If you don't believe in God/How can you believe in love?"

Peaceful... is a collection of undeniably catchy songs that are advanced by Fink's interesting lyrics. They're not pointless yet not nearly as cryptic as The Da Vinci Code. The opener "2 Atoms in a Molecule" asks the first set of question that the band isn't exactly ready to answer, such as "If love is just game, how come it's no fun?/If love is just a game, how come I've never won?" The answer may seem obvious, but since Noah and the Whale have decided to let the listener answer, they're never didactic. They're not afraid to get close to quoting Paul McCartney, either, as on "Give a Little Love" contains the words "If you give a little love you can get a little love of your own."

It's an extremely balanced album, mixing sullen moments like the simple acoustic periods on the title track, or bouncy pop/rock anthems like "Shape of My Heart." The elements of indie, folk, and chamber pop are very apparent, as their influences from Arcade Fire to Belle and Sebastien are not unpronounced. This is a band that history can remember fondly if they keep this up. (2 Atoms in a Molecule, Shape of My Heart, 5 Years Time)

Duds of 2008: Part Seven

Here are a handful of albums that hardly deserve a full-length review. Duds consist of albums that have received a rating of two stars or less.

Black Butterfly (2008, Atlantic) Buckcherry's fourth studio album. *

The anti-party album, full of disgusting music and lyrics fit for the white trash that embraces comedy of the likes of Larry the Cable Guy.


Ten Kens (2008, Fatcat) Ten Kens' first studio album. **

Starts off with a bang, but gets muffled by its own confusion. Art-rock is supposed to be arty, this is just contrived.





Child Bearing Man (2008, Absolute Kosh) Little Teeth's first studio album. **

Music only hippies can enjoy, and I know that they will. Little Teeth can tap into a select portion of the Avett Brothers' audience. Beyond that, this is nonsense.

The Walkmen - You & Me

You & Me (2008, Gigantic) The Walkmen's fourth studio album. ****1/2

Sincerity is never easy to convey, even when the effort on all fronts completely is. If there's any problem that the Walkmen don't have, it's struggling to communicate their sincerity. You & Me - as it could not possibly be more aptly named - is the Walkmen's most striking album, an arrow that pierces and is impossibly lodged. Walter Martin's signature voice, a mix of Bob Dylan and Stevie Marriott, completes this album in a way nothing else possibly could. Its themes are excellently rendered by easily decipherable lyrics, and that's not a knock; the relatively straightforward matter that Martin delivers with only increases the force with which the music already hits. You & Me is one of the most upfront albums of its kind, showcasing a relationship we never get the details of but can strangely identify with. On top of that, the themes of holidays and travel are equally recognizable.

"Red Moon" is one of the album's more somber moments, with a stagnant horn arrangement and moments of silence followed by a vocal wrap-up echoes the styles of songs like "Unchained Melody" by the Righteous Brothers. The no-tempo "New Country" serves as what could have been the perfect ending for such a near-perfect album, with its growing intensity of only guitar tracks. But the actual ending is possibly more satisfying, as the Walkmen drop lines like "My head is full of dreams, it's nothing new/But maybe dreaming is all a man can do." Not to mention Paul Maroon's subtle yet brilliant guitar solo.

Easily the finest moment is "In the New Year," with a gut-wrenching organ piece, whose climbing riff struggles so hard to keep up with the tempo, is only topped when Martin's seemingly unstoppable tenor vocal range continually soars higher, laying down hurricane lyrics like "I'll tell you I love you/And my heart's in the strangest place/That's how it started/And that's how it ends." Barrick's pummeling yet dreamy percussion arrangement only help the song to sway carefully like the open path Martin sings of.

On You & Me, the Walkmen have opened up another plane on emotion, as their transparency never feels contrived, instead it shows their vulnerability as human beings. Truly one of the better albums of 2008, You & Me is not an album that can be appreciated after one listen; it's the kind of diamond in the rough that teases you, taunts you, and intrigues you just enough to go on to a successive listen, and with each one it reveals itself until all the skeletons are out of the closet. (In the New Year, Canadian Girl, New Country, If Only It Were True)

Jem - Down to Earth

Down to Earth (2008, ATO) Jem's second studio album. **1/2

Down to Earth is so in between audiences that it'll be lucky to ever find one. While with one foot Jem has stepped into electronica and hip-hop as heard on tracks like "Crazy" and "Aciiid!" she simultaneously has piano ballads appealing to teen-drama watching high schoolers like "You Will Make It." So guideless is this album that it's almost transparently clear that Jem is not concerned about making music she likes; she wants to make music that's cool. Cool to who? Wannabe art chicks who think this is more exciting than Feist? I can't say. What I can say is that Down to Earth is anything but, as it's aimlessly floating in outer space.

Vampire Weekend - Vampire Weekend

Vampire Weekend (2008, XL) Vampire Weekend's first studio album. ****

The Strokes, Lily Allen, Black Kids... all artists who built up a certain amount of hype before unveiling their debut. Vampire Weekend are no different. They'd been knocking around New York City since 2006, maintained a following and were finally signed to XL - probably the leading independent label in the world - for their first album. How does a band accomplish this? Either they cheat the system like Metro Station or Panic at the Disco or actually work for it and earn it by a certain amount of luck. Vampire Weekend has done the latter.

Eleven bouncy walls performed by guys who know what they're doing in the bounds of what they actually are doing; i.e., they don't try to sound smarter than they actually are. They don't try to write songs that are too complex for their own good. Sure, they've studied Paul Simon well enough, that's heard right from the beginning with "Mansard Roof." But their best moment is their bouncy and sly falsetto-linked "Oxford Comma." With its beautiful harmonies and irresistible verses, the band has already made a classic pop song.

Then there's the charming "Cape Cod Kwassa Kwassa," which manages to maintain catchiness and reference an influence - Peter Gabriel. One of their best moments is the exponentially growing "Campus," which perfectly displays their subject material; college kids doing college thinks. Vampire Weekend is a delicate balance of indie pop/rock with just the right amount of chamber pop; not too much, but the classical moments shine through when they need to. But the band isn't off the hook yet. Hype and praise have been thrown at them, and it's very clear when listening to the album that these are some boys who have no idea what they're getting themselves into. (Mansard Roof, Oxford Comma, Campus)

The Subways - All Or Nothing

All Or Nothing (2008, WEA) The Subways' second studio album. ***

All Or Nothing is actually quite a pleasant surprise, as I'd only heard the Subways once before during their performance on David Letterman (or was it Leno?). Either way, their performance was terrible, as was the song. Needless to say I went into All Or Nothing with low expectations. I still don't believe they're good, but their latest album almost proves me wrong.

"Girls and Boys" suffers from being the perfect opener; it features a killer riff that has energy that couldn't possibly be fabricated. On the downside, it's the best song on the album, and nothing after it comes close to matching its brilliance. Why the Subways didn't follow the punk and metal instincts that the riff suggests is unfathomable. Instead they lay down vocal tracks and emotion that sound like post-grunge. It could be worse - namely, it could be pure grunge. Doesn't anyone get that Seattle's grunge scene was just a fad? There's none of it left and it doesn't seem to be anywhere near coming back.

Ensuing tracks like "Kalifornia" aren't half-bad, but they do sound like Nirvana B-material. All fairly loud with boring, predictable time signatures and riffs. After the above-mediocre sprint of "Shake! Shake!" the album winds up fishing for interesting moments, but only reels in variations of already-established grunge motifs. Really, there isn't anything on All Or Nothing that can be identified as the pinnacle of their mistakes. Instead, it's a collection of work that could have, should have been better.

Inside Music Album Guide - 9/18/08

Inside Music Album Guide
Newman strikes it rich, The Quilt has too many holes
By Stephen Mason

Okkervil River – The Stand Ins (Jagjaguwar) 3.5 out of 5
Forever the band-next-door, Okkervil River have always come so close to creating a classic album, and with last year’s The Stage Names, they nearly got there. The Stand Ins isn’t quite as good as its predecessor, though it does expand on similar themes such as love, loneliness, and the like. It’s propelled by engaging moments, most notably the album’s opener, “Lost Coastlines.” A soft, folk-rock number that expounds into a sonic tour-de-force of electric power, topped with Sheff’s heartfelt vocal performance. It succeeds and fails in relaying the message track to track, but The Stand Ins is still a worth entry in their entertaining catalogue.

Gym Class Heroes – The Quilt (Fueled By Ramen) 2.5 out of 5
Gym Class Heroes haven’t quite figured out who they are or what they want to do. The Quilt is made up of tunes seemingly made in the spirit of creating fun club music, but McCoy’s lyrics don’t match. There’s a fine line between being clever and annoying, and McCoy always finds his way to the latter. Take the monster single “Cookie Jar.” Musically compelling with lamenting synths and a notable appearance by the Dream, but bogged down by lines that mix races with treats. “Oatmeal raisin Asians” and “Macadamia Caucasians” may be the most laughable. And while the top half is loaded with potential singles like “Like Father, Like Son,” or “Catch Me If You Can,” the second act is loaded with boring filler. A decent effort by artists who take themselves too seriously for their own good.

The Subways – All Or Nothing (WEA) 3 out of 5
The head-banging riff that dominates “Girls and Boys” acts as a promising start by a group desperate to be respected, but never has an album lost so much steam so quickly. That’s not to say All Or Nothing immediately drops into a collection of ballads, but there is no moment that matches the tone the band sets at the start. The Subways would have been better off following their more metal and punk instincts, but they quickly find comfort in post-grunge, a genre that, like its forefather, is dying quickly in all spectrums. There’s not a song on here that you can point to as a truly weak moment. Rather, it’s a large collection of them that make up a sound that’s repetitive.

Randy Newman – Harps and Angels (Nonesuch) 4 out of 5
One of the more unorthodox singer-songwriters of the past few decades, Newman has always found himself stuck between two dimensions. One, his voice isn’t as pretty as Elton John’s. Two, his messages aren’t as genius as Bob Dylan’s. But Newman never tries to be either, and his cartoony, mush-mouthed vocals mixed with his “Aw, shucks,” lyrics make Harps and Angels a near-masterpiece. He never ventures too far outside of simple blues and ragtime melodies, using all the generic tricks along the way. And while he’s sure to make his acerbic political views known on tracks like “A Few Words in Defense of Our Country,” he also makes room for sincere, though comical, anecdotes as on the closing track. And to think, most people know him as the guy who wrote “You’ve Got a Friend in Me.”

Gym Class Heroes - The Quilt

The Quilt (2008, Fueled By Ramen) Gym Class Heroes' second studio album. **1/2

Either Gym Class Heroes are idiots who think they're way cooler and way better than they actually are, or they're pulling one of the greatest pranks in music history. McCoy talks a big game throughout the album without ever treading upon lyrics that make any of what he's saying sound true or even interesting. Even on The Quilt's first track, his first words are "Ladies and gentlemen," a cliche used so much in rap that scoffing is almost a natural reaction. It's a fictional court case that's impossible to follow, and that's a trend that unfortunately plagues almost all of The Quilt.

He pulls a Limp Bizkit-like approach to rapping when he repeats the same words for the chorus, "Papa was a rolling stone/But I want to be the cover of a Rolling Stone." I doubt that McCoy or any of the band members took a music class - and I don't require it of musicians - but one of the most obvious things is to never rhyme a phrase with the exact same phrase. And "Cookie Jar" is even cheesier when he gets to likening women of different ethnicities to treats; "Butter pecan Puerto Ricans/Or them oatmeal raisin Asians/Hazelnut Brazilians/Macadamia Caucasians." Oh, the line between being clever and ridiculously stupid is so fine!

Despite McCoy's total failure to write a decent line, the music is actually quite good. It's such a shame that it all fell into his hands. The trumpet flourish of "Guilty as Charged," the innocent guitar and piano of "Like Father, Like Son," the Latin influence of "Blinded by the Sun," or the whining synths of "Cookie Jar," (not to mention the Dream's excellent cameo appearance and untouched falsetto vocal performance) are all musically competent. Hell, they're downright brilliant. The best moment is stuttering keyboards that guide the honestly catchy chorus of "Catch Me If You Can."

It's a strange album, because while the band should be commended for making a relatively clean album (usually devoid of unneeded profanity) and is made in the spirit of fun, the second half of the album immediately following "Cookie Jar" falls into uninteresting filler. The first half, while fascinating musically, is dragged down by McCoy's beyond idiotic rhymes. Think of it this way, if Kanye had written the lyrics for the first half of the album, it'd probably be terrific. It can definitely be enjoyed, just make sure to never, ever think about anything McCoy says throughout its duration.

The Kills - Midnight Boom

Midnight Boom (2008, Domino) The Kills' third studio album. ****

On their latest album, the duo known for being another minimalist blend of punk and blues sounds anything but. Minimalist, yes, they're still that, but if anything, this is garage pop. It works for them, too, as Midnight Boom may be their best album. VV has never sounded sexier, and together her and Hotel's performances and songwriting have never been tighter. The droning, monotone delivery of the opening "U.R.A. Fever" is nothing but foreshadowing; the Kills have mastered the craft of the memorable chorus. On "Cheap and Cheerful," VV sings "I want you to be crazy/Cuz you're boring, baby, when you're straight," mixing in dance elements. "Last Day of Magic" has one of the most compelling guitar lines in recent history.

Midnight Boom is a perfect example of what so many artists fail to do. VV and Hotel are able to take so many genres of music (the Devo-esque "Getting Down," the hard-rocking "Sour Cherry" with its descending bass riff) and make it their own without anything ever sounding displaced. And everything, and I mean everything, sounds effortless. That's a compliment in the highest form, because it doesn't suggest they were being lazy. Instead, it's showing that the Kills have reached a level where they are able to craft killer tunes and never have to throw in filler. If this album doesn't launch them to the recognition that they deserve, then it's our fault. (U.R.A. Fever, Cheap and Cheerful, Last Day of Magic)

Fall Out Boy - Live in Phoenix

Live in Phoenix (2008, Island) Fall Out Boy's first live album. **1/2

Fall Out Boy are the heroes of emo, and its sole respectable artist. Panic, Plain White T's, whoever, Fall Out Boy are the only ones left standing who give the genre any credence (though one could certainly make an argument for Jimmy Eat World). And while Live in Phoenix will without a doubt entertain fans, it's still a compilation of uneven performances.

It opens with "Thriller," one of FOB's better and more underrated songs, but when it comes to the chorus, Stump sounds like he has a sock in his mouth. Worse yet, you can hear the media whore of a bassist Pete Wentz shouting in the background. Wentz occasionally butts in and shouts to the audience between songs, revealing a truth among fans; if you're an artist who has sold out a good sized venue, you can say anything - anything - and have the crowd go nuts.

There are decent numbers in here, especially towards the beginning. But none of them exceed what was done in the studio, and that hurts, especially when somewhat weaker songs show up and sag the middle. Even the cover of "Beat It" is less than spectacular; no one expects it to be better than Michael Jackson's, but what FOB have done with Mayer is the same approach that Alien Ant Farm took with "Smooth Criminal." None of this is to say that Fall Out Boy are poor in concert; I doubt that, it's far more likely that this was an unfortunately sub-par performance with a bit more than mediocre recording. (Stump's vocals are sometimes lost in the barrage of guitar tour-de-forces.) Live in Phoenix is not evidence for or against the band's credibility, and for fans it's a decent listen and enough to hold them over until November.

Vinyl Vs. CD

Music purists and audiophiles claim that vinyl sounds far better than CD. Others claim that CDs are far cleaner than vinyl and avoid the annoyance of pops and unavoidable skips. Recently, Rolling Stone had an article that discussed the return of vinyl as well as asking master engineers which sounds better. It is interesting to note that Neilsen Soundscan have reported that in 2007 nearly one million new vinyl records were purchased, and that by the end of 2008, it could be around 1.6 million, nearly doubling the amount of vinyl sold in 2006. CD sales continue to drop as online downloading (both legal and illegal) progressively and almost aggressively becomes more popular.

So, is vinyl on its way back in? Among two small crowds, yes, it will maintain its power, and probably among the masses it may become a fad amongst "cool" kids. As for making a full-fledged comeback, it's not likely. Vinyl can cost nearly twice as much (or more) as a new CD. It's more expensive to make and is more expensive to ship, not to mention the labor is more difficult, resulting in hiked prices. Now, CDs don't need to be nearly as expensive as they are, as the production and shipping are far, far less than that of vinyl (and relatively cheap anyway, as a CD is estimated to cost about $2 US). In that sense, the music industry is screwing itself when it asks for $14 to $16 for a new album. The two pockets that are genuinely interested in vinyl are the older crowd, generally baby boomers who hold vinyl with nostalgia. The other are younger, mainly high school through college who listen to a good deal of music and enjoy sharing it with their friends. Album art and detailed liner notes interest them and add to the experience.

In hindsight, it's almost pointless to discuss whether CD sales will ever pick back up or if vinyl will ever surpass CDs as the second most popular medium (over downloads). What is worth discussing is the quality of each medium, and if one is truly better than the other.

Rolling Stone asked Bob Ludwig about three recent albums, concerned about which format was superior. The albums were Evil Urges by My Morning Jacket, Beggars Banquet (reissue) by the Rolling Stones, and Magic by Bruce Springsteen. Ludwig recommended vinyl for Evil Urges and Beggars Banquet, but went with CD for Magic. But only one one did he comment about the quality of the sound system, and that was for Magic. He said of it, "... On a really good sound system, it sounds a little bit warmer on vinyl."

I think that is the main thing that should be considered on the debate of vinyl vs. CD. How good is your sound system? I personally have a fairly mediocre system. My father picked up the equipment at a garage sale for $25, it included all Kenwood products; tuner, amp, pre-amp, and CD player. Before I moved into my apartment I snatched some of his old equipment, a Kenwood cassette player and surround sound setup. I have a turntable as well, an old Dual 1229. My speakers are two old KLH speakers, I do not know what model they are. In that respect, my system - depending on medium and quality of the release - can only sometimes audibly display one version as superior to the other.

I own somewhere between 150 and 200 albums, of which over 100 are CDs, the remaining being vinyl. This is another thing to take into account; the quality of the originals. Think about it this way, in 1967 the album Vanilla Fudge was released by Atco Records. I own both vinyl and CD. The original pressing from 1967 (or subsequent years, it is definitely very old) is in remarkably good condition considering its age. However, it seems to be slightly muffled and doesn't sound quite as good as the CD. One of the band's following albums, Near the Beginning, sounds even worse on vinyl. Yet, my Led Zeppelin records sound just as good as any CD of theirs that I have. My point being that the quality of the recording may vary from band to band based on the popularity of the band and quality of producers and engineers. Likewise, early CDs suffer the same problem. Take Slowhand by Eric Clapton. I own a CD from pressed in 1994, and compared to vinyl it sounds like a tinny FM rendition.

Finally, how much money do you have to spend and what do you want out of it? For those who want a complete musical experience, both audibly and visually, vinyl takes it, hands down. The sound of new 180 gram vinyl is just as good or better than a CD, and the gatefold albums with blown-up album art and liner note inserts make the experience all the more enjoyable. Plus, many modern artists include free online downloads so you can have the music on your iPod. For those who want a tangible copy for home entertainment or for the car, CD is the way to go. It is fairly cheaper than vinyl and can be burned to computers and therefore to iPods. Tracks can be mixed to make playlists, etc. For those who just want an album on their iPod or only a few tracks off an album, downloading from the iTunes store is the road to take. It's even cheaper than a CD and you get exactly the tracks you want.

It basically comes down to a few factors. 1) The quality of your sound system. The better it is, the better you'll be able to differentiate superior formats. 2) The quality of the format (vinyl or CD). Early CDs tend to sound very bad compared to remasters in the late 1990's to the present. Equally, old vinyl - especially those that have been passed down or bought in record stores - aren't always quality, as they can be over forty years old with unknown amounts of plays. 3) What do you want to get out of it? For an experience that can be shared with friends, vinyl is it. For the sake of having it, CD. Only need a few tracks? Download off of iTunes.

Not everyone is an audiophile, so the eternal debate is useless for most of us. What people need to think about is what they want, as that greatly dominates what they should purchase. Downloading music illegally is, well, illegal. While artists do make money off of tours, many need to prove to their labels (either major or independent) that they're worth keeping. Unfortunately, the artist doesn't see much money from a CD sale. I won't condone or condemn illegal downloading, but think about it this way; using torrents for getting albums and then putting them on your iPod is the equivalent to walking into a Best Buy and grabbing Highway 61 Revisited and then strolling out.

Is there a verdict in all this? What format is better? For me, I have begun to get back into vinyl. I prefer the experience, and since most new vinyl includes a free and legal download, I don't mind shelling out a few extra bucks. Does it sound better? Depends on my state of mind if you catch my drift, but that's not always what it's about. I enjoy listening to music with friends much more than walking around with headphone in my ears.

References: Rolling Stone - Vinyl Returns in the Age of MP3

The Duhks - Fast Paced World

Fast Paced World (2008, Wel) The Duhks' fourth studio album. ***

I'm not sure how the Duhks attained the label of "progressive bluegrass," but I think that is hardly what I would call it. In fact, to even attempt to define their genre is difficult, and in their case it's not necessarily a compliment. Fast Paced World often finds the band trying to do too much, ranging from their original bluegrass roots to world, blues, and straightforward jam. To add on top of that, lead singer Sarah Dugas hardly fits the band's approach. Dugas is a jazz singer, plain and simple, and her husky Feist/Winehouse sounding vocals don't suit what the band should be attempting. Now, her voice is very rich and is excellent, and it works great on African pieces like "Magalenha" or the thunderous opener, "Mighty Storm." The problem? A cover of something like "Magalenha" doesn't belong here.

None of the material is bad or poorly performed, but because none of it adds together in any logical sense, you're left wondering what the band was thinking when they went into the studio. It's not unreasonable to entertain the thought that a computer came up with the track sequencing, as random order would work nearly as well as the arrangement they have here. While Fast Paced World may sound good, it's ultimately an aimlessly meandering album, attempting to bring an established sound (which isn't established) to a wide array of genres.

Charlie Hunter - Baboon Strength

Baboon Strength (2008, Reap and Sow) Charlie Hunter's nineteenth studio album. ***

A guitar "god" of a different genre, Charlie Hunter has been playing seven and eight-stringed guitars for some time, immersing himself primarily in jazz music. Baboon Strength, his latest and self-released album, doesn't see him taking any new turns. It'll be pleasing to the jazz fan, but beyond honestly interesting moments like the funky opener "Athens," the album sulks into easy though intricate instrumentals. It's not a bad thing at all, and Hunter's guitar technique is impressive, but not enthralling enough to say that Baboon Strength has anything to offer that others or even Hunter himself have said better.

Fujiya & Miyagi - Lightbulbs

Lightbulbs (2008, Deaf, Dumb & Blind) Fujiya & Miyagi's first studio album. ***1/2

Easy, dark, minimalist electronica. That sums up Lightbulbs. That's no criticism, it's fun to listen to. Not exactly a blast of energy or an album that cools you down after a long night, it's somewhere in between. Along with that, it veers between the possibly observant and outright ridiculous. I've no idea if there's any actual meaning behind lyrics like "Vanilla, strawberry, knickerbocker glory," but the tune itself is carefully constructed, with a very tight beat, even bassline, and chirping keyboards. The same goes for "Uh," which relies more heavily on the funky bass riff. The sounds of the album emulate 80's synth numbers but also works in more modern influences like Air and Hot Chip, though the tone is definitely darker, especially with Best's whispering vocal delivery. A well-rounded electronica debut, though topheavy, as the tunes mellow into near-filler after "Rook to Queen's Pawn." (Pickpocket, Goosebumps, Rook to Queen's Pawn)

Inside Music Album Guide - 9/11/08

Inside Music Album Guide
De la Rocha returns triumphantly, DiFranco sounds tired
By Stephen Mason

Ani DiFranco – Red Letter Year (Righteous Babe) 2 out of 5
DiFranco’s appeal has always been more associated with her words more than the actual music; in the 90’s she was a young woman braving the world of men while lending her unapologetic political insights. But now the world has changed and so has DiFranco, and the changes ripple through Red Letter Year, not in the best ways. Her political shtick is downsized and uninspired; her love songs are empty and insincere. The problem is that DiFranco can never say a lot with a little. Instead, her lyrics are long and extended, and while they may get the point across, they’ve absolutely no fervor. She sings, “You’d think at my age I’d have thought of/Something better to do.” Agreed, Ani. Agreed.

Ra Ra Riot – The Rhumb Line (Barsuk) 4 out of 5
Comparisons to Vampire Weekend are unfair, and it’s certainly a lazy reference, as Ra Ra Riot has their own brand of indie rock. They have colorful string arrangements and driving beats, headlined by frontman Wes Miles’s soft tenor voice. It starts off with a bang on “Ghost Under Rocks,” and the blast of energy is never lost, not even on the practically classical piece “Winter ’05.” To top it off, they may be the only band in recent history to turn an E.E. Cummings poem into coherent lyrics. The Rhumb Line may sound to some like Neon Bible’s lesser cousin, and to some extent it is, but Ra Ra Riot have already cemented themselves as one of the most exciting debuts of 2008.

One Day As a Lion – One Day As a Lion EP (Anti) 4 out of 5
Zack de la Rocha of Rage Against the Machine paired with ex-Mars Volta drummer Jon Theodore may be one of the best pairings in recent music history, maybe more so than Cee-Lo and Danger Mouse (who together make up Gnarls Barkley). The concept is simple and stupendous; a stripped-down, drum-and-keyboard alternative hip-hop approach filled to the brim with spiteful political rhetoric. Theodore’s drumming is outstanding, not only developing an effective and unique beat for each track, but for taking a central stance in filling in a lot of sound. Likewise, de la Rocha’s keyboards blast like sirens, and his message hasn’t changed. One Day As a Lion is an explosive, start-and-stop album, and de la Rocha has shown in his lyrics that he has matured over time – but still has all the fire he did back in 1994.

Apollo Sunshine – Shall Noise Upon (Headless Heroes) 4 out of 5
Shall Noise Upon doesn’t try to act like something new; from the beginning the band and the listener acknowledge that the idea is to emulate late 60’s psychedelic rock. From the Beatles to Cream, from Hendrix to the Byrds, there isn’t any style that they’ve missed. It’s not exactly copying; none of the music sounds like its been directly lifted from anything else, but songs like “Singing to the Earth” are easily identified as George Harrison-esque pop tunes while “The Funky Chamberlain” is a fantastic blend of Pink Floyd prog and Galactic funk. This isn’t a statement of anything new, it’s only for entertainment, and since there’s no one who is unaware of this, Shall Noise Upon works wonderfully.

Okkervil River - The Stand Ins

The Stand Ins (2008, Jagjaguwar) Okkervil River's fifth studio album. ***1/2

Wherever you think Okkervil River derives their influence from, they've proven to be one of the most peculiar bands in recent history. Over the course of their career they've never had a clean solid hit; I don't mean a radio-friendly jingle that makes their name, I mean a completely solid album from start to finish. That's not to suggest the idea that Okkervil River's albums aren't entertaining, but they've never been able to achieve the power that they want to.

The Stand Ins is another example of that. Yet again, the band has crafted an album I'm sure I'll add to my record collection at some point this year, but they've succeeded in maneuvering away from crafting a true masterpiece. They could have done it, particularly on their last two releases, but Okkervil River gets too hokey for their own good. Musically, many moments are breathtaking, and Sheff's emotional vocal delivery never gets old. Lyrically, however, they never match the sincerity or force that the music does. An example is the pounding "Lost Coastlines," whose alternative folk sound rocks hard. It starts off simply with an acoustic guitar, but it accelerates into a sonic whirlwind. And while the words may sound pretty, the ideas don't always shine through clearly.

Even one of the albums prettiest moments, "Blue Tulip," can't escape the stereotype. Sheff's finest vocal performance on The Stand Ins by far, yet bland lines like "I'll feel your feelings crackling" render it emotionally gutless. What's so strange about this failure of individual lines is that the themes are radiantly clear without being didactic; lost love, loneliness, and the like. Overall, The Stand Ins is not a weak entry in a fairly impressive catalogue; rather, it seems to fit right in with the good job that they've done since they've been playing. Okkervil River continues the band that is rarely breathtaking, often genius, mostly good, and never unlistenable. (Lost Coastlines, Blue Tulip, Bruce Wayne)

Duds of 2008: Part Six

Here are a handful of albums that hardly deserve a full-length review. Duds consist of albums that have received a rating of two stars or less.

Recovery (2008, Yep Roc) Loudon Wainwright's nineteenth studio album. **

Loudon isn't bad, he's just cheesy. It's not the music that screws him, it's his own clumsy lyrics that rarely prove to be insightful or funny and instead come off simply bland.

Red Letter Year (2008, Righteous Babe) Ani DiFranco's seventeenth studio album. **

DiFranco has banked on her lyrics over her music time and time again. While fans may soak it up, the routine is quickly a tired one. Her political sights are few and far between and her love songs aren't believable.

Clouded Staircase (2008, Bar/None) Starling Electric's first studio album. **

Clouded Staircase plays more like an extensive demo tape than an album; eighteen songs who average at about two to two and a half minutes. These guys have talent, but this finds them scrambling to be an updated and less enthusiastic version of the Beatles.

Silver Jews - Lookout Mountain, Lookout Sea

Lookout Mountain, Lookout Sea (2008, Drag City) Silver Jews' sixth studio album. ***1/2

Silver Jews is not an immediate sound you latch onto. In fact, it's nearly required that you be a fan of Johnny Cash and the Pixies to get into it. All their albums, Lookout Mountain, Lookout Sea included, are ones that grows with each listen. The opening "What Is Not But Could Be If" sounds like a lecture with lyrics like "What could appear in morning mist/With all associated risk/What is not but could be if." Alternatively, it can be completely idiotic, such as "Party Barge," which ends with Cassie Berman repeating "Send us your coordinates, I'll send a Saint Bernard."

Two moments are truly musically awe-inspiring; the vocally downing "Suffering Jukebox" and the folk sounds of "Strange Victory, Strange Defeat." The former is remarkable for its extended chorus, which again sees Cassie Berman letting loose with pleading lines. While it isn't as introspective as other Silver Jews releases, that's by no means a good or bad thing; if anything, it offers a balance to some of their more melodramatic work and lets David Berman's sense of humor shine through more. This isn't music that you'd hear at a party, but its sound is timeless. Namely, music like this ages very well. (Suffering Jukebox)

Bird Show - Untitled

Untitled (2008, Kranky) Bird Show's third studio album. ***

Experimental artists tend to polarize critics; half feel almost obligated to praise them because they don't understand them and feel like the music could unknowingly be influential in some obscure way. The other half despise them simply because they don't understand them, and the buck stops there. Untitled is an experimental album, no doubt, of world music with a focus on percussion. And as a result, it sounds like an experiment. Take that as you will, but while Untitled is very clean and together, there doesn't seem to be a whole lot of thought going into the extended numbers like "Percussion and Voice." Bird Show has created an album that's not necessarily difficult to listen to, but will certainly only have an acquired and limited audience. A decent effort.

Apollo Sunshine - Shall Noise Upon

Shall Noise Upon (2008, Headless Heroes) Apollo Sunshine's third studio album. ****

I would recommend that everyone listen to this album at least once, especially if you enjoy late 60's psychedelia. No doubt you'll find at least one song you like, because every song sounds like a different band; early Pink Floyd, Cream, the Beatles, the Byrds, etcetera. And while most of the album is fairly captivating, Shall Noise Upon fails to act as a coherent piece. Nothing is really put together, it's like having a puzzle where all the pieces are the same color, making it impossible to figure out how to shape it into one thing.

"Singing to the Earth" moves like George Harrison's work, bouncy and full of sunshine. "666" mixes Aorta with Floyd, reeking of fairly impressive guitar distortion imitation. The beginning of "Happiness" is almost identical to "I Talk to the Wind" by King Crimson. All of this isn't necessarily bad, the music sounds great; but there really isn't a voice to be found anywhere. Shall Noise Upon, then, acts less as art (though it seems Apollo Sunshine meant it that way) and more as pure entertainment for stoners who miss or would have wanted to be a part of Woodstock. I don't scold that. Because even though they do sound like other bands from the era, they're not ripping off anyone's work. I enjoyed it thoroughly, and I highly recommend it to anyone who is a friend of the hookah. (Singing to the Earth, The Funky Chamberlain, Money)

Inside Music Album Guide - 9/04/08

I've started writing for the university newspaper as a music critic... sort of, I guess. I get to review albums. It's a bit frustrating; I've a feeling there will be a lot of misprints (as today was my first article and already there were a plethora of them). Below is how the article was supposed to appear.

Inside Music
The Stills do it right, Jonas Brothers are still learning
By Stephen Mason

The Stills – Oceans Will Rise (Arts & Crafts) ****
There are three things that make Oceans Will Rise work, and none are by accident. First, the Stills know how to be radio-friendly while layering their message into the hooks of their indie-rock driven style (“Being Here,” for example). Second, they’ve mastered the dynamics. There are no points where Oceans Will Rise is too loud for too long like a Muse album, nor does it whisper until you fall asleep. Third, the message they convey – while obvious – isn’t as boisterous as someone like Marilyn Manson. All in all it’s thoroughly enjoyable, and let’s face it; they make global warming sound fun.

The Verve – Forth (RED) ***
Unfortunately for Ashcroft and company, the Verve is ten years too late to reunite and answer the age-old question of “What would the Verve have done next had they not broken up?” Certainly Forth is only partly an answer; the band is older – though not necessarily wiser – and has used any great material elsewhere. There’s no “Bittersweet Symphony” here, only imitators; “Valium Skies” is the only track that features reminiscent string arrangement and truly impassioned vocals by Ashcroft. While other notable tracks like “Love is Noise” (which, not ironically, features a sample of a truly strange barking sound) may be remembered by the few remaining fans or the dedicated music connoisseur, the rest is forgettable. All listenable, but not engaging.

B.B. King – One Kind Favor (Geffen) ***1/2
The hailed “King of Blues” is back again with an array of blues covers, ranging from the legendary Big Bill Broonzy to the equally great John Lee Hooker. There’s no big production values that water One Kind Favor down, it’s still as basic as blues gets (King going so far as to have an upright bass in the recording sessions). It’s lop-sided as well; “Blues Before Sunrise” is the mark where King gets into it. After that, every track is golden, especially his cover of Chatmon’s “Sitting On Top of the World.” He may be old, but he sounds just as fresh as he did in 1957.

The Jonas Brothers – A Little Bit Longer (Disney) **1/2
Teen pop has always been the prostitute of the music industry; it’s easy and it makes a lot of money. You can’t blame the Jonas Brothers for that, their intentions are better. They know their target market and are responsible enough to keep a distance from drug and sex references (something Katy Perry cannot). For that, I tolerate them. As far as the music is concerned, it’s overly-produced, slick, trite nonsense. Strained vocals and excessive hooks. Lyrics about relationships they pretend to have had and understood. Drivel for the most part. I’ll admit, though, the kids can play guitar.

YouTube Update

The latest reviews on my YouTube channel:
www.youtube.com/user/politicianrock

Entry #18: Has Rolling Stone Lost Its Touch?
Entry #17: The Jonas Brothers - A Little Bit Longer
Entry #16: The Mars Volta - The Bedlam in Goliath
Entry #15: Randy Newman - Harps and Angels
Entry #14: Cat Power - Jukebox
Entry #13: Music You Should Be Listening To

"When once you had believe it,
Now you see it's sucking you in."
- LCD Soundsystem

-Stephen

B.B. King - One Kind Favor

One Kind Favor (2008, Atlantic) B.B. King's twenty-fourth studio album. ***1/2

Long hailed as the "King of the Blues," B.B. King is back with an array of blues covers. There's nothing out of the ordinary and his style hasn't changed much, and what's surprising is that even at eighty-two years old, his signature voice doesn't sound weathered at all. It's a bit of a slow-starter, as One Kind Favor eases in with the jazz-flavored "See That My Grave is Kept Clean." The most invigorating and soulful moments don't come until the second act, really opening up with "The World is Going Wrong" and "Blues Before Sunrise." The ensuing songs are equally rattling and rollicking, especially "Backwater Blues" which features King's best and most convincing vocal performance on the entire album. If you love the blues, you love the King, and although it's not his greatest work, it's still enthralling to hear a master make a tried genre sound as good as ever. (Blues Before Sunrise, Backwater Blues, Sitting On Top of the World)

Ra Ra Riot - The Rhumb Line

The Rhumb Line (2008, Barsuk) Ra Ra Riot's first studio album. ****

The tragic death of drummer John Pike in 2007 didn't detract Ra Ra Riot at all. If anything, it pushed them on, almost forcing them to stay on course with a goal they all agreed on; to make beautiful music. The Rhumb Line is mixed with tributes to Pike, but instead of sounding depressive and mournful, they sound inspired. It is clear that the band feels things will never be the same, but they don't make the audience pay for something they can't understand. It starts off with "Ghost Under Rocks," a galloping introduction. The Rhumb Line is full of string arrangements (actually played by band members, imagine that!) and energy, bordering on the cusp of something I can only describe as proto-classical rock. Make sense? Didn't think so. Let me explain:

The Rhumb Line and Neon Bible used strings extensively, and since they could so easily be transposed into classical arrangements - especially "Winter 05," which is almost a classical piece on its own - that they push the boundaries of alternative rock and chamber pop, possibly further into something completely new. Maybe?

If Ra Ra Riot has any shortcomings, it's that their energy isn't always engaging. It doesn't tire, but sometimes a slower moment would be welcome. I unfairly compare The Rhumb Line with Neon Bible (because I do so unfavorably) in pointing out the balance that Neon Bible had. The title track was perfect after the sonic blast of "Keep the Car Running." And while the first three cuts of The Rhumb Line are then thankfully mellowed by the sleigh bells of "Winter 05," the tempo speeds up again for "Dying is Fine" and never again backs down. It doesn't hinder the album horribly. They're so damn good at writing genuinely good hooks that if they ever learned the value of pace, they'd already catapult themselves among today's best artists. But don't fear, Ra Ra Riot have already placed themselves as one of the most exciting and most promising breakthrough bands of the year. (Ghost Under Rocks, Dying is Fine, Oh, La)

Lykke Li - Youth Novels

Youth Novels (2008, LL Recordings) Lykke Li's first studio album. ***1/2

In 2007 I became very tired of minimalism. It had been around since the late 1990s, and only few bands were able to do it successfully, namely blues-based bands such as the White Stripes and the Black Keys. There were others of course, but they seemed to be the only ones who had it down pat. And even then I wasn't crazy about it; Icky Thump, while still an exceptional album, ranked as one of the Stripes' weakest outputs. At the same time, wonderfully flourished albums like Neon Bible were sonically epic in every sense, and that was the direction that I had been waiting for.

And now in 2008, we've been seeing less minimalism in favor of bigger sounds. That doesn't always make things better, but it was a nice change from the norm. Li, however, seems to have missed the memo, and has actually put out one of the few truly great minimalist indie electronic albums (assuming there's more than this one). It's dance music for the kids who are too cool to dance. Youth Novels is disjointed, and it tends to sputter more than it stands solid. Things don't kick in until "Let It Fall," a very simple Prince-esque groove with lapping vocals. Even after this moment, it doesn't always work. The next great moment doesn't come until the robotic "Complaint Department," and appropriately it meanders until the end. There is no bad material here, what's here is just uneven, and Li is merely inconvienced to have a debut that's not quite as proper as it should be. We'll see where she can go from here, because while it's a promising start, the genre she's adopted as well as her sound don't lend to a whole lot of growth. (Let It Fall, Complaint Department, Breaking It Up)