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.

Love This Giant (St.Vincent & David Byrne)

I imagine when ‘Talking Heads’ David Byrne and St. Vincent decided to make a collaborative album their conversation was not far off from this:

“So. Annie…”
“Yes David”
” Annie, I’m turning 60 soon and I’m searching for something, something more. Musically.”
“huh. Ok.”
“Annie. Let me lay it out for you. I’m awesome. And, you my dear, are the quirkiest firecracker. Shall we…”
“Oh, David. I know where you are going with this. I think we shall.”

—

St. Vincent and David Byrne have joined forces to craft the most effervescent album this year may see; Love This Giant.

St. Vincent has an intoxicationg voice. Her versatile and effortless demure musical abilities transfer to a myriad of music so purely. David Byrne, having been around the block, offers up a refined knowledge of eccentric pop rhythms. Together they produce a balance of perplexing eccentricity. Which seems to work. From the first listen it is apparent that the album is not an ordinary piece of work.

In an off-kilter kind of way David Byrne and St. Vincent compliment each other. Byrne is brought to the foreground by St. Vincent’s toned down performance. It is a strange fit where the vocals do not only cease to coincide expectedly, but play as if two separate tracks were pieced together. It’s a flirtatious jaunt.

The obvious choice for the duo’s first single “Who” is full of vigor. The song begins with a tricksy horn combo to lead into Byrne quivering vocals “who will be my valentine?” , comparable to that of a pop infused Tom Waits. When St. Vincent chimes in with beautiful, smooth vocals (resembling a soulful Dirty Projectors impostor), the mood changes.

The heavy bass presence in the album lends itself to an array of styles. It plays funky, sombre, even in a seemingly New Orleans inspired fashion. If modern pop and modern jazz are not your cup of tea then the cavorting trombones and the air of whimsy Love This Giant offers will likely not be suited for you.  Love This Giant is giddy, outlandish, and above all well thought out, and well executed.

Welcome to your mid-twenties

I dug a hole to China and I went back in time. Being a foreigner on this planet helped to fuel my carefree lifestyle. I had so little worries. I became a man-child. Or, I guess in this case, a woman-child.

I had always (pretty much) played by the rules. Not on purpose, it just happened this way. But then I went away. While I would hear about people moving on, succeeding and becoming adults back in home country I danced around like a little party elf. This was the life that I wanted. I liked that I could stay out until the sun came up, go teach a class of thirty five first graders, and do it all again the next night. To me, that was progress. Life progress. I no longer felt a hangover, win.

But then I noticed that the conversations I was having were lacking in context. There was no intelligent banter, or witty repertoire. My day to day chatter was filled with “oh my god, last night was soooo fun”, and “do you know what you’re wearing tonight? you should totally wear… it would be sooooo cute!” And, while sounding like a valley girl seems comical now, I should have noticed at the time that I was beginning a downward spiral into woman-childhood.

I should have picked up on the clues. But, I didn’t. And, I hadn’t realized my descent until recently. I am in my mid-twenties. A stage in life that puts you on the cusp of adulthood. There are certain unwritten rules for people in their mid-twenties. You should either be in the process of accomplishing your dreams, or you have already accomplished them. To some extent. If you fall in neither category, what the hell are you doing? Your mid-twenties bring panic and the daily question “what the fuck am I doing?” That is, if you’re in any position like mine. You are ultimately in limbo.

The other night when I was walking home from the bus stop meandering my way through throngs of drunk “just legals”, all that kept going through my head was “damn kids”. I wanted to get home to a cup of tea and book. What?! So I realized, on the one hand, yes I do love to dance my face off, I do happen to get stuck in big crowds and occasionally get punched in the face and peed on at shows, and I do enjoy drinking games that involve Mario Kart… I enjoy drinking games, period. But, I am also ready for an adult life. I’m ready for the all fulfilling career that makes me giddy, for the property investment, for a full bank account and time off to travel.

While living in China had changed me into the ultimate woman-child. Moving back has turned me into a confused kind of woman-child. It is difficult to find a medium. My guess is that this is what the rest of my twenties will likely be. A strange dance between the young me, and the old. Entering into mid-twentydom is the entrance way to embarking on this whole other part of life. Probably no more school. You probably have a good sense of who you are at this point. And all that you have are your natural tools and the ones that you’ve earned. Now, how to put them to use.

Welcome to your mid-twenties, sucka.

The after life albums

One of my favorite movies is ‘High Fidelity’. My adolescent dream of working in a record store semi stemmed from this book turned movie. I am obsessed with the idea of being surrounded by the brilliant works of writers, composers and artists who I not only admire but most of whom who I have yet to even experience.

I can relate to the overly neurotic protagonist, Rob. His self appointed music geekdom helps him to assess his past relationships while comparing and contrasting them to various music. He makes lists. I would be lying if I said that I do not partake in the same obsessive activity. Music lists help to lay it all out, they seem to make life more understandable. I guess.

I think it was accurately described by Courtney E. Smith in the first chapter of her book Record Collecting for Girls titled ‘Top Five Lists’ when she says:

“Music nerds everywhere delight in making Top Five Lists of obvious, obtuse, and obscure records tailored to every categorization of music you could possibly imagine. I am one of those nerds.”

When I say “obsessive activity”, I really do mean obsessive. Obsessive to the extent that once one begins crafting the aforementioned lists it seems nearly impossible to stop; top 5 songs for driving, top 5 albums that remind me of my high school experience, top 5 albums for the fall… obsessive.

True to Rob form, I have compiled many Top 5 lists. Here is my Top 5 Albums list. It has taken me many hours to create and has been revised many a time, and will be revised many more I’m sure. But for now, I think I have settled on the Top 5 best, most significant albums… to me at least. This week.

5. The Beatles, Abbey Road (1969)
Despite the tension within the band, the Beatles were able to create an important album that the world needed to hear. Although they were having different ideals of where they thought the music should go, a real message was still able to prevail from their slow demise. The A side and B side are two completely different feels. Where side A was a raw and unabashedly honest ebb and flow including a look into where the Beatles stood both politically and as a band, Side B offers the best post exasperated sigh. Side B starts off with the light ‘Here Comes to the Sun’, and moves into the perfection of ‘Because’. It is an excellent explanation to an almost confusing side A. This album, in my opinion displays the Beatles at their best. Plus, Ringo had his time to shine with ‘Octopus’s Garden’. Which to this day is probably still his greatest success.

4. The Black Keys, Rubber Factory (2004)
Chosing a favorite Black Keys album is like picking a favorite child. Not an easy task. At the time that this album was released I was not yet a Black Keys fan. My musical tastes had not yet matured. And, I am thankful that I did not know who they were just yet. Discovering the Black Keys was during an important time in my life. It was a time where I was learning about myself and entering into adulthood. At this time I could really understand this band, where they were coming from, and what their music was about. The first song that really resonated with me was ‘Act Nice & Gentle’. Though originally by the Kinks, performed by the Black Keys it carried so much more weight. Rubber Factory is so dirty, so raw. It’s the type of album that consumes you whole with the power to take you higher or spit you out.

3. Led Zeppelin, Led Zeppelin IV (1971)
Though worshiping Robert Plant for years, and succumbing to the obvious perfection of ‘Stairway to Heaven’ I had actually never sat and listened to Led Zeppelin IV from start to finish. I luckily found a rare copy in one of my towns oldest record stores a few years ago. The owner expressed to me how fortunate I was and I couldn’t wait to get home to indulge. Right from the first chords of ‘Black Dog’ I was taken to another planet where rock n’ roll ran free. I was so easily scooped into the arms of Zeppelin’s mystical prose. A place I would never leave. Around this time is also where I began to fantasize about going back in time just so I could experience this glory first hand. I still cannot pin point what it is exactly about this particular Led Zeppelin album that will forever have me squirming.

2. Red Hot Chili Peppers, Californication (1999)
I was only eleven years old when this album was released. It spoke to me at eleven. It spoke to me at sixteen. And it still speaks to me now at twenty-four. This album is timeless. In my opinion, it is undeniably the best work by RHCP. Here is where the band balances an excellent alternative rock sound while maintaining their original funkability. The reason this album has the ability to affect me at so many different stages in my life is because there is a steadiness to Californication that is so special. While the album plays mostly as an epiphany, it is still so infused with energy.

1. Wolfmother, Wolfmother (2005)
You just know when an album will be a perfect fit. It’s like going on a first date. Most times, you know immediately. I knew immediately that Wolfmother and I were in it for the long haul. I can’t remember when I first heard Wolfmother but I would guess that it was ‘Joker and the Thief’ that caught my attention. I could not get enough. To me this self titled album is the reincarnation of the works of a rock n roll, flower child, super god sent out to woo me. This album makes me nostalgic for a heavy psychedelic rock sound that I never even knew.  The lyrics are transcendent, employing a meaning that many bands of the like had never done before. In a word, it’s awesome.