Ke$ha, Warrior

I hate that I don’t hate Ke$ha lately. Don’t get me wrong, the wannabe “cult leader” (her words not mine) still gets on my nerves. Watching her in interviews is mind melting painful. But with ‘Warrior’ coming out in a week, I’ve checked out a few tracks. I mean, I was way too into ‘Die Young’, I figured there must be another gem on there.

Similar to ‘Die Young’ Ke$ha is starting to hone in on a more beat driven cock rock inspired sound in ‘Dirty Love’. It’s ridiculously fun, fit with some impressive melodies courtesy of the head animal herself. Iggy Pop is featured on the track, as what? Comedic relief? I don’t know. I like though.

‘Dirty Love’ - Ke$ha ft. Iggy Pop

Prince, 'Rock and Roll Affair'

Prince is one of those artists that I can’t help but roll my eyes at, he’s a self appointed prima donna. But. BUT. He’s reliable. I can always count on Prince for solid soul pop. ‘Rock and Roll Affair’ is lacking in Princes usual kinkery. What it is not lacking though is a healthy dose of funk, pop, and soul…. and oozes Prince.

I dig it.

2012 Album Roundup; Tame Impala (Lonerism)

Tame Impala - Lonerism
 Released: October 9,2012

Musical psychedelia is a strange beast in this day. Artists in varying genres dip their toes into the psychedelic pool. They don a sophomore album with one psychedelia inspired song to have their curiosity quenched, leaving them free to go back to what they know. It is rare that an artist can fully submerge themselves into psychedelia- post 1979 -and be successful. Tame Impala is the God amongst mere men when it comes to psychedelic rock.

Lonerism is the Aussie bands second studio album. What gives Lonerism its ultimate gold star is the fact that it is not merely trying to emulate a sound most prevalent in the 60’s and 70’s, but going further and creating a sound to rival some of the psychedelic greats from the flower power era. Tame Impala digs into the core of psychedelic music and harnesses the “experimental” notion that is accompanied with it. From there, you combine that with their groove rock, dream world melodies and a masterpiece is born.

This album feels reminiscent of the best parts of the Beatles, using similar melodies with an uncanny vocal resemblance to John Lennon. It also has a Jefferson Airplane rock base that ties it all together. Not that this was the bands intention. It would be silly not to make the obvious comparison. The most notable aspect of Lonerism, though, is how Tame Impala adeptly captured the feel of a psychedelic trip. From the initial note there is a sense that the album could go anywhere.

The first track ‘Be Above It’ is clearly the powerhouse of the album and an excellent first song to set the mood for what is to follow. The experimental sounds, musical anarchy, combined with head honcho Kevin Parker’s dreamlike neo-psych voice create a fascinating song. But it’s not all air and whimsy on Lonerism. Tame Impala doesn’t shy away from a solid beat on ‘Elephant’, where the underlying beat line emulates an elephant parade.

Lonerism is predominantly instrumental. Though, it is not overwhelming noticeable that there is so little vocal work. The hooks, rises, and falls make for a fascinating and memorable 52minutes.

Above all Tame Impala created an organic album which forces a person to become fully aware of their senses. Lonerism extends itself to parts of the self generating a full body experience.

2012 Album Roundup; Lana Del Rey (Born to Die: the Paradise Edition)

Lana Del Rey - Born to Die: The Paradise Edition
Released: November 13, 2012

Lana Del Rey is my favorite tortured heroine in music. She is this beautiful songstress who belongs in a film noir. Lana’s captivating voice matched with poignant lyricism is sultry in almost every way.

Born to Die, released in January was a valiant effort. Lana pushed the limits in a non threatening way, challenging listeners with off kilter songwriting. It was surprising when she released her EP Paradise a few weeks ago. With about nine tracks Lana combined Paradise with Born to Die to create Born to Die-Paradise Edition. This was good thinking on her part. That which was lacking on Born to Die is found in Paradise. And, with Paradise exploring the singers edgier sides, having it combined with her pop noir tracks from Born to Die creates a sound balance. Lana Del Rey exudes sex, drugs, glitter and gold through her airy balladry.

The music isn’t where it ends for this 1950’s inspired vixen. Lana extends her self conceptualization to the screen. Each of her music videos has proved to be cinematic. If it’s radio hits Lana Del Rey wants I doubt that is what she will get. I imagine the positive response to her music will be mostly received by a more cerebral music fan. Similar of that to film noir worshipers. While it is pop music, it is not the typical Top 40 pop music that you would expect. Lana Del Rey is not unlike a sexed up version of Fiona Apple.

At face value there does not seem to be much depth to Lana. But when you look further into the entire package it becomes apparent that Lana Del Rey is a full opus, fabricated carefully for her art (her real name isn’t even Lana Del Rey, it’s Elizabeth ‘Lizzy’ Grant). At first glance there appears to be an overtly sexist message behind the majority of her songs, putting women in an inferior role to men and love. Only upon further listens can her ideal be explained and understood. It is all part of the Lana shtick.

Lana is a product. This does not seem to be her genuine self, rather an alter-ego, or 2.0 version. She is depicting what she thinks is most sexy. Whatever the case, it works, for the most part. Albeit campy at times, Lana/Lizzy gets my support.

2012 Album Roundup; Mumford and Sons (Babel)

Mumford & Sons - Babel
 Released: September 25, 2012

I should mention that I am completely obsessed with Mumford & Sons. I don’t often admit to this when attempting to review an album because it gives away to my bias opinion. But it needs to be stated that I think beyond being one of the most genuine, and gracious group of lads I have ever had the experience of seeing live, they adeptly tell stories pulling out emotions you didn’t think you had in you. It is obvious that these men are wholly involved in the music they are creating.

Babel, the follow up to Mumfords 2009 album Sigh No More shows the success the band has acquired in the last three years. Mumford & Sons, thankfully, did not change their sound during this time. Babel is an album fit for a large stadium. It is filled with a more skillful build, grandeur and diverse instrumental amalgamation.

Babel borrowed its name from the Hebrew, Tower of Babel found in the Book of Genesis. The story behind the Tower of Babel is basically the story telling of city members joining together to build a tower to heaven. The end of the story says that God came down from Heaven and scattered the people around the world and created languages so they could not all understand one another. I don’t completely understand the story. From what I do understand the moral would be something along the lines of “don’t try to put yourself on the same level as God”.

It is almost ironic that Mumford and Sons would choose to name their story Babel. Mumford has never had a problem telling a story. Folk tales were never told so evocatively. The band is not shy in religious references with an overwhelming questioning and challenging God. This is most apparent on the album opener also titled ‘Babel’. It is the modern retelling of the Tower of Babel from the perspective of the confused city member. Ultimately sounding like a song of rebellion.

I’ve noticed that a lot of music reviewers have faulted the band for nary straying from their core style. This I think is ridiculous. It confirms that what you are hearing on Babel is authentic Mumford. They are true to who they are, and are not going to change the way they write their songs based on what they think will sell. Babel is more high energy with the majority of the songs playing in the same fashion. It is too difficult to consider this a fault because the build is far too breathtaking. The majority of tracks start off with Marcus singing over acoustic guitar then leading into a tremendous climb into an all consuming howl matched with banjo, keys, trumpet, bass… and honestly whatever other instrument you can think of.

‘I Will Wait’, the first single, is similar to Sigh No More’s ‘The Cave’ but perfected. The song makes up for it’s lyrical simplicity in the hammering out of the chorus. For a repetitive song it remains a powerful one. The band has been playing ‘Below My Feet’ for years giving it time to saturate the bands growth. It is probably the most exemplary song off Babel given its ability to carefully explore all the elements that are Mumford & Sons. It is a song of compassion and one most people can relate to. Hearing the song for the first time in 2011, unperfected under a dry Tennessee sun, soaked in sweat with grime caked into every crevice of my body I remember being moved to the point of tears. It is that powerful.

Though Mumford & Sons have left themselves with plenty of room to grow, Babel is an organic representation of the bands songwriting, and musical capacity. While it may play as the B side of Sigh No More there is no doubting its greatness. I can never get enough of Mumford & Sons British take on Americana, their folk grandeur.

Canadian Music

I am not a patriotic person, typically. I love the country I live in. But, given that I have done little to nothing for my country, besides vote, I find it difficult to say that I am “proud to be Canadian”. However, there is but one instance where I feel no hesitance in saying that I am indeed proud to be Canadian.

Good, great Canadian made music makes me proud. I don’t know why. I had no part in creating it, so why should I be proud? Maybe it’s because I am Canadian, maybe it’s because I’ve seen my fair share of Canadian musicians live, whatever the reason. I feel there is a certain “sound” that is prevalent to most good Canadian music. No I don’t mean like Avril Lavigne, Nickelback or Justin Bieber. They are all Americanized Canadians. America, you can have ‘em. I mean there is just a certain raw quality that is associated with most Canadian music. For the most part the music isn’t hyperstylized, or artificial sounding.

This year I’ve been more than a little impressed with Canadian musicians. And yeah, proud to be Canadian. There were a couple albums that really stood out - besides The Sheepdogs, who I already reviewed: here

Yukon Blonde - Tiger Talk
Released: March 20, 2012

Expanding their horizons Yukon Blonde released an album, Tiger Talk, which differs from their previous self titled album. There is less of a folk sound. Tiger Talk is infused with megawatt energy. And, after now seeing Yukon Blonde live, I feel that their sophomore album better represents the bands live sound.

Yukon Blonde is this indie rock, 70’s radio rock/surf rock sounding band from Kelowna, B.C. Their sound exudes west coast. On Tiger Talk you can expect to dance, and swoon. The band is more generous with their guitar riffing donning the album with some dirty solos.

The key songs on Tiger Talk would have to include “Stairway”, a song about missing home. It’s full of hooks and prevalent drumming mixed in with YB’s signature “ooooooh’s”. “Radio” is the most high energy song on the album sounding more punk than folk complete with controlled beat, hand clapping, and yea, more “ooooh-ing”. My three favorite tracks are a tie between “My Girl”, a west coast sounding love song, “Iron Fist”, a smooth, funky, sombre track with a great beat and soothing vocals, and “Oregon Shores”, which might be one of the most impressive songs on the album outfitted with striking harmonies.

I predict these 70’s sounding indie rockers will be around for awhile. I hope so at least.

Bahamas - Barchords
Released: February 7,2012

It is obvious that Alfie Jurvanen or as we know him, Bahamas, latest album is on the Brushfire Records roster. And no, contrary to popular belief, this Toronto born Ontarian did not grow up on the west coast. Barchords  is Bahamas second album. He is known for his California sounding beach tunes, and Barchords  is no different.

Barchords really lays out Jurvanens soulful and folkful vocal talents more so than his 2009 album Pink Strat. It is full of airy, dreamlike, acoustic surf sounding folk songs. The feeling evoked through Barchords is not unlike the feeling you would receive from the works of artists like Jack Johnson, M.Ward, or Bon Iver.

The first single off Barchords was an obvious choice, “Caught Me Thinkin’”. It’s a jaunty pop- folk song with Californian tenderness. I think the best track would have to be “Lost in the Light”, a soulful folk song with soothing vocals and melody. But, “Your Sweet Touch” is probably my favorite. It uses careful folk melodies melded with a more garage blues sound, mixed in with sharper vocals.

Barchords is elbow deep in lovelorn lyricism, subtle electricity, and folk authenticity. A perfect album for California daydreaming.

Record Store Demise Thanks to Quick Fix

As an informed grocery shopper, when you are looking for your produce do you look for the “made in Honduras” or “product of Mexico” sticker? No. Unless of course you are in Honduras or Mexico. As a smart shopper, you buy local. You are aware that buying locally means you are making steps -yes, small steps, but steps - towards a sustainable environment. Not only that, but it shows that you not only care about your body, the environment, but also the economy. Good work, shopper.

Why should music purchasing be any different?

Since I’ve started working at a CD/Record store I’ve had countless shoppers say to me “well, I can get this at Wal Mart for two dollars cheaper..”. As if this were Thailand and I could barter with them. While holding back snapping at them saying “well then, GO THERE YOU WHINY FART!” I simply think “are these people for real?!”.

There are two main things that are contributing to the demise of the CD/Record store industry; our demanding digital world, and mega monster companies.

The creation of music was not always like how it is today. There was a time when an album told a story. It was meant to be heard a certain way. Songs were fashioned to a specific, well thought out order. I find this rarely to be the case anymore. When you open up a book I doubt that you choose chapters at random and start reading (unless it’s a ‘Goosebumps: Choose Your Own Adventure’).

Companies like Apple (who - don’t get me wrong, I do love) create amazing things like, iTunes. iTunes is awesome, yes. But iTunes can easily be a friend or a foe. Beyond having a place to store all of your music, you can also buy music through iTunes. And, if that weren’t enough there is a genius living in your iTunes who will also create playlists for you if you so wish. All with very little effort required from you. It leaves you free to sit on your couch and have all your needs met. Music porn.

When I was living abroad, iTunes was my best friend. I couldn’t just head out to a record store to buy the latest Jack White record. Hell no. It didn’t exist where I was. Luckily I was able to pre-order and have iTunes automatically download what I want as soon as it becomes available. This was great. But something didn’t feel as genuine. iTunes (and other downloading) discourages the physical aspect of music. A part of music most people don’t acknowledge. Everyone wants the cheap and easy fix, the instant gratification. All at once the hard work, and grueling hours that the musician put into whatever it is you sought out has been reduced to almost nothing.

I, myself, am a record collector. I like that traditionally there is a rhyme and reason for the songs on side A, and the songs on side B. I like that it’s not an easy task to just change the song. I like that to hear the second half of the album I need to get out of my seat, lift the needle, flip the record, and place it gentle to start again. I like that I can hear the small specs of dust that fall onto the record. I like how if someone jumps, the song skips. It’s physical. If I want to play a good, fulfilling, sweaty game of hockey I don’t turn on the wii and have at it with the other mii’s. No, I grab my skates, a stick and puck and head to the closest ODR. Music shouldn’t be any different.

I get it though. You hear a song at a bar. You ‘Shazam’ that song. You go home and then [illegally] download the song. It’s a quick fix, you’ll likely delete the song in a month. That Ke$ha song is catchy, but not catchy enough to spend money on. And, no you have no intention of buying her album. Fine. But, is it fair that ‘Ramble On’ be forced to be played before or after her? Not really, no. It’s doubtful that artists intended for their songs to be played in shuffle having their hard work mashed in with your quick fix.

I feel that musicians are aware of this, making them create hit songs, rather than hit albums. Because music is so easily accessible it is often also under appreciated. You think you appreciate the music you just downloaded? Trust me, you would treasure it a lot more if it meant decided on buying your dinner or a new record. Not saying you should go broke to love music more. I’m simply saying when you, yourself, are working to keep your musical tastes satiated you will likely feel a deeper connection to what it is you are listening to. Which is what was likely intended by the musician.

The second impeding force affecting the slow, painful downfall to record stores is mega companies. Which brings me back to my initial point. When customers say to me at work in a whiny voice “well, I can get it at Wal Mart for a cheaper price” it really urks me. Duh, of course you can get it at Wal Mart for a lower price. Honestly, Wal Mart can probably afford to sell it for an even lower price.

Think about it. Wal Mart treats its staff (and I’m not referring to the staff on the front line bagging your buys or stocking the shelves) as if they’re serfs. Meaning they can get away with paying them nearly nothing. Wal Mart then buys CDs for, let’s say, $0.99. Then, Wal Mart turns around and will sell you that same CD for $15. Wal Mart is making about $14. Not to mention when you are buying from Wal Mart, you are showing that you support this behavior, and all that comes attached to it.

An independant CD/Record store might buy a CD for, maybe, $10 (for example). They will then sell it for $16. Say this is the same album that Wal Mart is selling for $15. Yes it is one dollar more. But look at what you are contributing to. You are contributing to your local economy, creating jobs within your community, helping the environment, all the while still showing support to the musician. In this case the independent record store makes $6. That $6 will go to all the expenses that go along with owning a business. In a world where the majority of consumers aren’t buying music, whether it be through iTunes or in a physical store, that’s not very good.

It’s easier to say than to do in practice. Given you are a music fan, why not shell out the dollars to show that you care. It’s better for you, for the musician, for the small business, for the economy. Everyone wins. The $10-18 you might spend on a new album is worth the life long, rich experience you will get with it.

Yes, cheesiness intended.

Travis Barker & Yelawolf, 'Psycho White'

Travis Barker & Yelawolf - Psycho White

Since the release of Give the Drummer Some in March of 2011 I’ve been anxiously waiting for Travis Barkers next project. When Barker featured Yelawolf alongside Busta Rhymes, Twista, and L’il Jon on GTDS track ‘Let’s Go’ it was obvious that the two needed to work together again.

It’s so strangely amazing when different types of musical medium flow together with such effortlessness. Travis Barkers drumming style equates that of Yelawolf’s rapping style. Which is clear on the EP’s first track ‘Push ‘Em’ (featuring Skinhead Rob & Tim Armstrong). Barker is known to rock fast and hard. His flow is powerful and all consuming. To be able to keep up with the drummer is impressive. Yelawolf is definitely awe inspiring. The dude hasn’t been around for a long time, and to be on par with - who I think is - one of the best musicians of our time… damn. Travis Barker and Yelawolf feed off of each others rapid fire intensity.

The EP isn’t all intense all the time though. You do get some time to catch your breath. Despite only offering up five tracks, there is a lot of versatility. Though you start off with high energy ‘Push Em’, ‘6 Feet Underground’ has more of a reggae, and southern feel. No doubt Wolf’s influence. ‘Funky Shit’ showcases Wolf’s quick tongue. It’s plays like a psychedelic, chill track. But, the real stunnerwould have to be ‘Whistle Dixie’. It’s raw, has a great beat and you get the chance to experience both Barker’s and Yelawolf’s talents both apart and together. ‘Directors Cut’ is old school. It has a thrilling feel, with great climb. Using music from Halloween  this track is fresh, and inventive. It is a good final song to wrap up Psycho White.

It is obvious that Travis Barker and Yelawolf were given creative freedom in the studio. The duo really feed off of each other and it shows.  Such a great EP. I only wish there were more tracks. Check it out!

Nicki Minaj & Cassie, 'The Boys'

Nicki Minaj is easy to trash talk. So people do. A lot. She isn’t “hood” enough for a lot of folks. On the flip side she isn’t “pop” enough for others. I think she’s great exactly where she is.

While I’m not a die hard fan, and can’t always get into her music, I wholly appreciate and admire her talent. She is more than just bubblegum rap. There is always this persona that people expect with rap music. Nicki breaks the persona and that freaks people out. I don’t think she is wasting her talent, I think she is using her full personality in her music.

Also, I think her next album should be called ‘Polly Pocket Paradise’. Accurate.

Nicki Minaj & Cassie, The Boys

Green Day, 'Stray Heart'

I have definitely had my qualms with Green Day. I was once a fan. But, the music they made after 2000 really disappointed me. It’s not that the music wasn’t good - it wasn’t for me that’s for sure, but it wasn’t not good - but I felt the band was trying too hard to be what they thought people wanted punk rock to be. They are a punk rock band. But, when they tried to prove to the world that they are a punk rock band, they simply looked like they were trying much too hard. It came off as completely unnatural and annoying.

Out of frustration and spite I made the decision not to even give their 2012 tri-albums a go. Until I heard ‘Stray Heart’.

‘Stray Heart’ is Green Days first single off of their second installment in their three album release effort called ¡Dos!. While the band may still be trying to create a “punk rock” image for themselves and trying way too hard, at least now their music is palpable.

‘Stray Heart’ is 50’s punk rock sounding. It’s a well thought, and well executed Green Day. It sounds like old Green Day but polished and new. And worth listening to.

Girl Power

When I first developed a keen interest in music my parents gave me Whitney Houston’s self titled cassette, Whitney Houston. As a six/seven year old in rather small (at the time) town suburbia, none of my friends knew who Whitney Houston was. I considered myself to have a mature taste in music. And, I listened to that cassette non-stop. Well, in between listens of “We Sing Dinosaurs!”.

Though growing up with a base of soul, funk, and R&B from my parents, for the rest of my childhood a lot of my music listening experience was devoted to boy bands, with the exception of one group. The Spice Girls. Sure, it’s easy to talk down to the super pop British act. But, to me, these five women exuded strength, and yeah, girl power. I was obsessed. Completely obsessed.

As it happened when I reached middle school my tastes had changed again. No longer did I have a craving for Whitney, and The Spice Girls. Now I had turned to Christina Aguilera for female musical guidance. I thought her first couple albums were just the bee’s knee’s. In my mind X-tina could do no wrong. Yes, she was over the line of being a stripper pole away from a cry for attention. But, she had a phenomenal voice and there was no denying that. It wasn’t until she started to sound like every other pop star on the radio that I had to put down my Aguilera pom-poms and put my support on hold.

By the time I had given up on Christina Aguilera I was about fifteen/sixteen years old. I had a brief stint as a P!nk wannabe when I was thirteen that didn’t last past her first album. Here begins my deep worshipping of classic blues and rock n roll. I started to feel like no female in the music industry in 2003/2004 could speak to me musically. I turned to Janis Joplin, Diana Ross, Aretha Franklin, the Wilson sisters and Sarah Vaughn. For the rest of high school I had no intention of listening to any female singers whose music arose after I was born. Male performers were still safe. Females really needed to step up their game. I was done with the pop-tart performers, only selling because of theatrics, and boobs. In a way I was boycotting this music world where (at the time) people like Ashlee Simpson and Avril Lavigne were legally allowed to continuously make music. It didn’t make sense to me.

It wasn’t until my very last year in high school that I had a turn around. Thank you Amy Winehouse. And, I’ve been so happy to be back in the female world of music. It’s not to say that I don’t think there is a lot of crap out there. Because trust me, I do. But, there is just so so much to love about female music right now.

Everyone has heard the voices of Adele and Amy Winehouse. The two voices that restored my faith in the female singer. But there are so many other powerhouses that, I think, are starting to shape the music industry in a  good way.

Joss Stone. Besides being seemingly one of the coolest people in the music industry, Stone obviously has a butter smooth, soulful voice. When it comes to Joss Stone, there are no frills just plain raw talent.

Brittany Howard of Alabama Shakes. Howard’s voice is reminiscent of another time. Her southern soul infusing into Alabama Shakes souther rock band is not unlike the great works of Janis Joplin or Tina Turner.

Lana Del Rey. A voice so unique, it is not placeable. Lana sounds like a crooning, 60’s songstress. She is untouchable, simple because no one can sing like Lana can.

Sharon Jones of Sharon Jones & The Dap Kings. I consider it a success when my parents musical tastes start to mesh with my own. Female funk and soul never sounded so good. Jones is old school in a modern world, and makes it work.

Those were just to name a few. Laura Marling, Duffy, Florence Welch, Esperanza Spalding are some other names in popular music that I think deserve major attention.

All in all, I am pleased at the direction female music is moving. And, look forward to what’s to come.

2012 Album Roundup; The Shins (Port of Morrow)

The Shins - Port of Morrow
 March 20, 2012

It had been five years since The Shins last album. This is not to say that frontman, and primary song writer,James Mercer, hadn’t been busy. In the time between Wincing the Night Away and Port of Morrow Mercer joined forces with Danger Mouse to create Broken Bells. And, while Broken Bells served as a worthy distraction, it did not quite emulate the type of profoundness that Mercer brought to the table with The Shins.

When I first heard that The Shins were going to be making another album I was nervous. The Shins are known for their fun, quirky, indie-pop songs written in the form of daydreamy adult prose. This is what I liked about The Shins. I could rely on this.

Upon first listen of Port of Morrow I could immediately feel the required five year maturation. It was clear that this was going to be a significant album.

The mood of not so subtle emotional psychedelia accompanies the most intelligent lyricism I have ever heard. Despite being one of indie musics most sought out bands, The Shins have remained true to their perfected melodies. Where Wincing the Night Away explored a slightly darker side to Mercer’s lyricism, Port of Morrow is expressed beautifully in his libretto. There is an obvious air whimsy. A spooky psychedelic trip.

The album starts off with ‘The Rifle’s Spiral’, an upbeat punch. With challenging lines like “you’re not invisible now/you just don’t exist” to claim ownership of an astute listeners attention, the album then turns to “Simple Song”. Port of Morrow’s clear choice of a first single is both sharp and diverse musically, all the while lyrically beautiful. The majority of the tracks do not stray from this style, though of altering from uptempo to low. The only black sheep of the album would seemingly be “Port of Morrow”, an acid rock croon. The song is not like the others on the album, but is just as inventive. The mysterious, flirtatious mood that it depicts is merely aid to Mercer’s intelligent child like dream words.

Port of Morrow, as an album, is stunning. It is apparent that James Mercer has finally come to admit, and accept that he is The Shins. And, that’s OK. It’s more than OK. I can take a five year hiatus if it means brilliant works like Port of Morrow are the result.

Huge fan-girl moment for me. I’ve been a fan since I was about twelve years old. So, this definitely gave me butterflies.

2012 Album Roundup; The Sheepdogs

November is here. Aside from Remembrance Day, Black Friday, colder weather, and American Thanksgiving what that means is the years album round up begins. Often around this time of the year, nearing closer to Christmas and New Years, I reflect on what I’ve been listening to in the last 10-12 months.

At this time I can think of about twelve albums that have really stood out in 2012. Being that there are 8 more Tuesdays until 2013, I’m sure I will find at least another couple albums to call 2012 favorites.

Here is my countdown to 2013, in music form, my favorite albums from 2012; Album Roundup

Starting with, The Sheepdogs.

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The Sheepdogs - {self titled album}

Released: September 4th, 2012

I have had the pleasure of seeing The Sheepdogs at Bonnaroo in 2011, Lollapalooza in 2012, and will be seeing them in Ottawa next week. In honor of such, I think it appropriate for them to start off my Album Roundup.

When life gives you lemons, you make lemonade. When life gives you the workings of four  astounding boogie rockers, you damn well sit up and listen.

Coming from Canada having won their way onto the cover of Rolling Stone, reigning in crowds to rival their peers by playing at festivals like Lollapalooza and Bonnaroo, the Sheepdogs have proved themselves time and time again. Their 70’s southern rock sound is a golden throwback demanding any classic rock fan to perk up and pay attention. Despite being around the block for a little while, for some reason the band hadn’t quite received the clout they fully deserved. Until now. Now, more than ever, the music world will have a difficult time ignoring the Sheepdogs.

Produced by Patrick Carney of the Black Keys, the Sheepdogs have recently released their latest [self titled] studio album. The album itself takes you back in time. Back to “the good ol days”. It is reminiscent of an era where music was a way of breathing. The people were high on just about everything. Lovers and friends would congregate in peace parties to share the love of lyric and sound.

The Sheepdogs take you on trip. While their sounds resembles that of CCR, Lynard Skynard, or the Allman Brothers, the Sheepdogs are still able to find room for originality. Their Sheepdogs own flavor adds to their thick, rock n’ roll stew.

The album takes off with “Laid Back”, a smooth, easy breezy song. The mood of “Laid Back” plays like a throwback to the Dead’s “Truckin’”. As you settle into the groove of the album, which makes you feel fine as apple pie, Carney’s influence becomes more and more apparent. It is especially noticed on the more uptempo, hand clapping jam “Feeling Good”. The album then takes a turn to a more sombre, psychedelic folk song called “Alright OK”. Before making the B side flip, the Sheepdogs slam in some classic blues gems; “Ewan’s Blues” and “The Way It Is”. The latter sounding more modern than the rest of the album with a garage rock bass line and fervent guitar. The A side closes in true classic rock fashion with an eclectic instrumental first act finale.

The B side is packed full of fun, funky, classic rock. It pulls the album together completely. This album the Sheepdogs have crafted is nothing short of a well polished story. They take you along for the ride. A ride to get you feeling good, feeling down, feeling groovy. It is all part of the Sheepdogs compilation plan.

After paying their dues, this band deserves the celebration they will no doubt receive for this album. The Sheepdogs have adeptly created a sound piece of music.