The Kills (Blood Pressures)

The Kills - Blood Pressures
Released:April 5, 2011

Is it a coincidence that only a mere few months after The White Stripes announce their  eradication that The Kills come out with a ground breaking garage blues album? Who knows. While I could compare this album and The Kills to the White Stripes in so many ways, I won't. Allison Mosshart must have taken some notes from Dead Weather bandmate Jack White, because she sounds phenomenal on Blood Pressures. Truly. This album is packed with realism while in constant battle with the extraordinary. The lyricism and overall music ability is exceedingly vast this time around. I am not disappointed to hear them leave their usually dominant goth-rock sound behind.

I must say I have a fierce girl crush on Allison Mosshart. I saw her, the amazing Jack White and the rest of great musicians of the Dead Weather in Ottawa a few years ago, and I was just blown away. Her stage presence is absolutely incendiary.

Before Blood Pressures I cannot say that I was a big Kills fan. I didn't mind them, but was not a fan enough to even own any of their music. This album has turned me right around.  Jamie Hince and Allision Mosshart are so fantastic together. There is not one track that I do not like on this album. I'd have to say right now, my favorite is Wild Charms. Though it is only one minute and fifteen seconds long, hardly enough time to constitute itself as a song, it is very calming and whimsical. I am in love.

This album has the ability to appeal to a whole slew of music lovers; blues fans, garage rock fans, grunge, Beatles fans, psychedelic folk fans, Jack White (and his abundance of cohorts) fans, Jeff Beck fans, and so on, and so on.

I am extremely impressed and thrilled with the result of Blood Pressures.

Fleet Foxes (Helplessness Blues)

Fleet Foxes- Helplessness Blues
Released: May 3, 2011

I am having a love affair. It is with this album. Perhaps it is due to the recent Ottawa weather, but I find myself feeling extra reflective while listening to Helplessness Blues.

On the bands third studio album they dig much deeper than their last, portraying a vulnerability that was lacking on their last, self-titled album.This album is stunning. There is a special sadness masked in sheer beauty. It is a flawless folk album. I detect that Helplessness Blues was under the influence of Crosby, Stills, Nash & Young, though embodying a more triumphant, all-conquering sound. Rolling Stone classified the sound as "sounding like a troubled Joni Mitchell and ends with [Robin Pecknold] sounding like a Utopian Graham Nash".

The name, Helplessness Blues could  not be more accurate of a title. These words with this music is the ultimate. This album flows very intricately. Fleet Foxes have created a methodical, intriguing piece of work.

Blues

I am the product of abundant consummation of cheestrings and Barqs Root Beer, having read far too many Archie comics for my own good, and raised in middle class suburbia. I am not a grizzled, slightly above middle age, southern black man with a glaring story to tell. What constitutes my incessant worshiping of the blues? I could not tell you. If you happen to be of the few who not only know about this blog, but for some reason follow it as well (thank you), you may have come to realize that I feel a certain kinship to the blues. The raunchier, the dirtier, the rawer the better. I have a problem with calling just about everything the blues. "Oh, damn, that is a mean guitar riff... that's the blues", "Listen to the drawl in his voice, the longing and wantonness... so bluesy", or the worst "I love this song. It's so good.... I can't quite classify what it sounds like, but it sounds like the blues." I have a problem, I know this. Despite what it may seem like at times, I do know that not everysingle type of music is a certain form of the blues. I just love it, OK?

I've read many music analysis papers, and commentary and the overwhelming sense I get is that blues is dying.  Really, that is an absurd statement. I recently read that "[...] it is unfortunate that new blues cannot be created". I'm not entirely sure what that particular writer meant by that statement. While I am endowed with adoration for the classic blues, works of: Clapton, Howlin' Wolf, John Lee Hooker, The Jeff Beck Group, Muddy Waters, Buddy Guy, B.B King, I find that "new blues" are most prominent now than they have been in the past 10-15 years. Blues supergods will continue to create masterful pieces of work. But when I think "new blues", I think of artists who possibly weren't in their twenties in the 60's or 70's.

In response to the ignorance of non "new blues" believers, I wanted to share with you my three most recent favorite "new blues" albums:

Keep It Hid, Dan Auerbach

I will not, I refuse to go too much into my ramped love for the Black Keys, it is unfair to Dan Auerbach's solo endeavor. I will say though, that I am convinced that the Black Keys, are perfection, together and apart. Keep It Hid is fantastic. The first time I listened to this album was while riding the bus after work. The first song I listened to was Goin' Home. I remember feeling like I was on the verge of bawling my eyes dry. It wasn't necessarily the lyrics, it was because what I was listening to right then, amidst a crowd of smelly strangers was wholly beautiful and real. For a moment I developed a faith I never had before. I had found refuge in this song, in this album. Dan Auerbach is incredible- this album is incredible.

Gary Clark Jr., Gary Clark Jr.

In the latest issue of Rolling Stone a man named Gary Clark Jr. earned himself the title 'Best Young Gun'. Beneath the inscription read the words "This Texas hip-hop-head could be the future of the blues". I read the short blurb about Clark, and found out that Eric Clapton discovered this guy on youtube. Talk about credibility. Gary Clark Jr. has a very appealing voice, and the music he creates is smooth. This self-titled album has an added soulful feel to it. It is an outstanding venture into bluesdom.

Mission Bell, Amos Lee

The latest album from Amos Lee is honest. The authenticity of Mission Bell is undisputed. With the risk of sounding quite country at times, I am under the conviction that this is a blues album. It does not remind me of classic blues, but that isn't what we're talking about, we're talking about "new blues" and this is faultless, sensational new blues. {Amos Lee will also be playing at Bonnaroo!}

Hugh Laurie (Let Them Talk)

What do I know about Hugh Laurie? Not a whole lot. I know that he, plays the zany Doctor House on the hit TV show, House and I know that he has one of the best Englishmen-going American accents I've ever heard (seriously, the man is British). Beyond that, I really do not know much about the guy. When I first heard that Hugh Laurie had released an album, I am fairly certain my mental reaction was as follows "great another Hollywood star who thinks that just because you can act, constitutes your ability to become a musician...". I'm pretty sure there was a severe eye roll, and head shake to accompany the thought. However, due to my innate curiosity and willingness to try anything once, I gave this funny guy a shot. He had played instruments on House before, so, I mean he couldn't be that bad, right?

Let me tell you fellow music lovers, this album is absolutely amazing! I mean it. Hugh Laurie who I have recently learned is a trained musician, is one talented cat. The hearing of this album for the first time was of the same reaction to having your first beer, it's new and you think you like it and you just want more. The first 20 seconds of Laurie's After You've Gone was all I needed to know that his album, Let Them Talk is superb. Within that first 20 seconds, yes a mere 20 seconds, I had already received the palatable taste of Hugh Laurie's jazzy, New Orleans, blues style. I must admit, before the singing commenced I was convinced I had just turned on a Harry Connick Jr. track by accident-who funnily enough is also a Hollywood actor/singer combo, but whom I show great musical appreciation for- due to the smooth, effortless quintessential jazz sounds.

Let Them Talk is absolutely perfect for what it is. Its New Orleans feel is just so intoxicating. While I get the sense that Dr. John is the Yoda to Hugh Laurie's, Anakin, this young padwan learner really impressed the shit out of me. Laurie is not out to play a role and pretend he is anything that he is not. He is merely expressing who he is through the styling of good ol' American blues. From what I understand this album bleeds Laurie's blood. Of course, with most capable pieces of work, the collaborating with others is welcome which Hugh Laurie did, yes. But, Laurie played the piano and sang on every track, giving this album his seemingly best effort leaving his guts baring and all. If you actually listen to the lyrics -which is difficult to do because just the sound of his voice and the music playing is so homegrown and warm feeling- you will truly gain insight into Hugh Laurie's past, present and overall acclaim. It is completely appreciated and wonderful.

I would be lying to you if I said that I know for a fact you will absolutely love this album, unless of course I am talking to another version of myself. However I don't know you, reader, and while this style of music is so very pleasing and earnest and good, it may not be for you. You owe it to yourself to give Let Them Talk a bona fide listen.

A Peek into 'Roo '11: Black Joe Lewis & the Honeybears

FUNK! Growing up with a dad like mine, it is no wonder that I have such a love for funk music. Black Joe Lewis & the Honeybears is my generations James Brown meets Wilson Pickett meets Muddy Waters meets Howlin' Wolf. The grit and the raw funkability resembles that of 1960's/ 1970's musician. Black Joe Lewis' recent album Scandalous is down right dirty. It is raw using exquisite melding of instruments. This album is so much fun! That stinkin' sweet bass line alone is enough to have you hooked. Lewis truly delivers along with all the musicians, in fact. Every song is played as though it is the last song anyone will ever hear. There is a rock element in a good majority of the tunes that works as a tremendous balance. Though it may be rock n' roll, there is still a righteous amount of funk. It is so, so funkin' sweet to know that funk will live on through artists like Black Joe Lewis & the Honeybears. Can't wait to get my mash potato on at Bonnaroo.

Sex, Drugs and Cocoa Puffs

Have you read the book Sex, Drugs and Cocoa Puffs by the hilarious and stunningly witty Chuck Klosterman? Well... you should. I've recently moved homes and in the process of unpacking I find myself getting caught up reading [long] passages from some of my favorite books. It makes for an entirely too long unpacking process. I first read Sex, Drugs and Cocoa Puffs the summer before starting a Media and Communication program. Suffice to say, I started the program with inquisitive, critical eyes. It is an astounding analysis of media and pop culture. In a round about sort of way, what I am saying is, it is a great book.

But, why would I decide to share this tidbit with you, reader, on a music blog? While flipping through Sex, Drugs and Cocoa Puffs I came across something that I thought was not only funny, but completely fantastic. I find hilarity in the following Klosterman passage for a few reasons; 1. parts of what Klosterman is saying surfaced in a conversation between Greg and myself yesterday- in reference to conversation with people who know nothing about anything, 2. I feel slightly akin to the mentioned music geeks, 3. given the case that I had an IQ north of 140, the mentioned conclave would describe my zion. Enjoy this small excerpt.

"I used to think there was nothing worse than being trapped in a conversation with someone who knows absolutely nothing about anything. However an acquaintance taught me this wasn't true. 'There's one thing worse than talking to a person who knows about nothing,' he said, 'and that's talking to someone who know about nothing except music'. You know the kind to which my friend refers. You've met him at underattended rock concerts and in empty downtown taverns, and he inevitably adores the Moody Blues. But try to imagine if one of those people was so adroit at being singularity obsessive that he actually got paid for it. Imagine if the weirdo who seems to live in your nearest locally owned record store suddenly had a 152 IQ and a degree from Tufts. And now imagine a hundred of those people coming together for four rainy days in Seattle, all of them totally fucking stoked for the opportunity to compare The Kinks Are the Village Green Preservation Society with Danish physicist Niels Bohr's field theory on radioactive decay.

I was one of those people.

Now, let me be completely clear about something: I had a wonderful time at EMP. I'm precisely the supergeek who enjoys forty-minute conversations about side three of Lou Reed's Metal Machine Music album. The pencil-necked eggheads at 'Crafting Sounds, Creating Meanings' are-sadly-my people."

- Chuck Klosterman, Sex, Drugs and Cocoa Puffs