The Year of The Black Keys

My number two album of the year is The Black Keys’ Brothers. I posted a review on this album earlier this year after its release and I’m still blown away by it. I was fortunate enough to see them for the second time on this tour last month. After the performance I realized I have a few new thoughts about the album and the band since my review, so this will serve as a bit of an update.

I’m a selfish bastard. I can’t help it. When I find something I like I want to keep if for myself. I don’t play nice and I don’t share. From the first time I heard them after Thickfreakness was released in 2003, I was hooked on The Black Keys’ stripped-down drums, guitar and vocals aesthetic. What they were doing wasn’t necessarily anything new; their sound draws from their many blues-roots inspirations (see my previous review for examples). But there was something about their raw energy and irresistible hooks that made them stand out and I’ve been a faithful follower of their career ever since. They were one of those acts (like WEW) that you couldn’t believe didn’t get more recognition. How could a band be that good and no one’s heard of them. That being said, I always liked the fact that I was one of the insiders. I knew of the secret awesomeness that was The Black Keys. Even through their previous album Magic Potion’s release, they continued to put out high quality music yet still fly under the radar despite bringing in one of the hottest producers in the industry at the time. No problem, I thought, more for me.

It’s always bittersweet when that changes, as it did with the release of Brothers. It’s clear that these guys were ready to break out and they hired a phenomenal PR machine to ensure that it would happen. Flash forward to the end of 2010 and their album is on all the top 10 lists for the year (also number 2 in Rolling Stone’s rankings), selling out every show on the tour in minutes and rocking possibly the best (and most radio-played) single of the year, the ridiculously catchy Tighten Up. They were even nominated for 4 Grammys. The down side of this is that now I have to share. I have to share with the fat girl next to me at the show who sits down while they rip through Girl is on My Mind and Stack Shot Billy, but jumps up and screams and jiggles when they slog through Everlasting Light. I have to share with the poor saps who “just have to hear Tighten Up” and are willing to pay 100 bucks for a ticket from the douche bag, scum of the earth scalpers out front (those guys should all burn in hell) who scooped up all the tickets in the presale. And to make matters worse, what I’m having to share is, in many ways, a different band. The reason they slogged through Everlasting Light is because it is not a live song. It’s fantastic on recording and is the perfect opening track for a rock-solid album, but it does not translate well to the stage. Frankly, it’s boring and drags down the energy level. This is an extreme example of the “new stuff.” They opened the show playing the “old stuff,” which consists of Dan and Pat coming out and doing what they’ve always done; playing the pre-Brothers songs as hard as they can, totally in sync with each other and basically of one musical soul until they’re dripping with sweat and ready to drop. Then they bring out their bass guitar and keyboard-playing friends to launch into the “new stuff” with a proper band. Again, I love the new songs and the new sound, but, again, it just isn’t the same live. That connection between the two principles fades a little when the other guys are out there and the show loses a little steam until they boot the new additions off the stage and go old school again.

There, got that off my chest. Now for the bright side of the bittersweet. I couldn’t be happier for this band and all they’ve achieved this year. They’re finally getting the respect and recognition that I thought they deserved all along and things just keep getting better and better. Plus, although they’ve expanded their sound on the new album, they haven’t changed it. At its core, their music is still all about the blues. Further, the band continues to stay real and true beyond their music too. One of the Grammys they’re nominated for is best art direction, thanks to the awesome retro package that Pat’s younger brother, Michael Carney, put together. And in the year when all of Ohio was in an uproar because their patron saint LeBron left for greener pastures, the Black Keys still literally sing the praises of their home state, as heard in the b-side track Ohio.

Tis’ the season for generosity and in the year of the Black Keys I’m finally willing to share….just as long as the band promises to keep sharing too and putting out the same great sounds they always have.

Happy birthday to fellow blogger PD. Hope you had a great day and thanks for letting me ramble on with this list for a week and a half. I'm looking forward to reading yours. Odds are you'll never guess who's on tap for tomorrow. Number one, at long last, is up next.

Portland's Finest

The latest from Portland natives Menomena lands at number three. From their groundbreaking debut, I Am the Fun Blame Monster, to their sophomore effort, the outstanding Friend and Foe, I waited with confident anticipation for the first half of this year until the release of Mines in July. I knew I wouldn’t be disappointed. The agonizing three-year delay between albums is because of the painstaking efforts these guys make to create perfection. Their process utilizes a technology called a Digital Loop Recorder, or DLR for short, or Deeler for really short, developed by band member Brent Knopf. They basically start with a nugget of a song, usually the drums, on a loop and the all three members pass the track around over and over again, adding a saxophone here or a guitar lick there. All three band members play a wide assortment of instruments and all sing, so the more the track is passed from one guy to the next, the richer and more complex the song. This meticulous process is by necessity incredibly slow. In an excellent interview in the Willamette Week earlier this year, the band explained that the three members essentially email their contribution on to the next person and are actually very rarely in the same room together. To me it’s absolutely astonishing that they can produce such a polished sound while remaining so physically disconnected. But the reason I think this works, and definitely one of the reasons I appreciate this band so much, is because this process is absolutely 100% democratic. Although each track originates in the mind of one of the three band members, all have an equal say and the resultant album is a perfect three-way blend of their component styles.

I listened to this album nearly every morning for about 6 weeks and found it to grow organically. Every few days I had a new favorite track. The tone of this album is probably a little more somber and the tracks are more subdued than on Friend and Foe, owing at least in part to the fact that two of the three members went through divorces since their last album. The excellent opening track, Queen Black Acid, begins with a strummed guitar and bass line that builds to an emotional finish and seems to certainly be about soured love as Justin Harris laments in the chorus “You bring me down, so down.” TAOS starts with a heavy base riff and high energy and ends with a jazzy outro that makes good use of Menomena’s signature bari sax. The highlights are too many to name, but Harris’s Five Little Rooms was my first favorite and remains eerily awesome and Danny Seim’s Dirty Cartoons and Tithe are both builders that satisfy. My least favorite tracks, as on their previous albums, are the ones on which Knopf sings lead vocals. That being said, they’re still solid songs and essential to the album to maintain that perfect balance.

I’m fortunate to live in the same town as these guys because if affords me many opportunities to see them perform live. The diversity that they bring to their music translates well to the stage as they constantly switch instruments and trade off on vocals while maintaining a high intensity level.

And then there were two. See who got first runner up tomorrow.

How Swede It Is

God bless those darn Swedes. They've given us catchy indie-pop (see Peter, Bjorn and John) and the heaviest of heavy metal (I don't have a reference here, but I'm sure PD can fill in the blank for me). They've also given us a new generation of folk singers (see Jose Gonzalez and Jens Lekman). Most promising among this new crop is The Tallest Man on Earth and his 2010 release The Wild Hunt comes in at number four on my list.

I was glad to hear that PD had developed a newfound appreciation for Bob Dylan, because I’ve had this one earmarked for the swap for several months now. TMOE was a grower for me. I bought his 2008 album, Shallow Grave, after reading the glowing reviews it was getting, but didn’t give it much play time because I just couldn’t get on board with Kristian Matsson's voice. It was just too abrasive. Two years later the hype machine was churning again and I kept hearing great things about his latest release, so I invested again. Perhaps my tastes have evolved or my ears have matured over those two years, but I can now appreciate the TMOE’s genius. The Dylan comparisons are obvious and there’s no question that this guy drew a lot of inspiration from him, but I don’t think that’s got anything to do with why I’m drawn to his music. I place this album right alongside the rootsy, Americana folk of some of my favorite singers such as Will Whitmore and Bon Iver. Like these two gentlemen, The Tallest Man’s greatest strength is his songwriting. The funny thing is, now when I go back and listen to Shallow Grave, I realize it’s every bit as good as this album and the subsequent EP released this year, Sometimes the Blues is Just a Passing Bird (which technically expands my list to 10.5 albums). Highlights from this one include the hopeful Troubles Will Be Gone, the tender The Drying of the Lawns and the anthemic Kids on the Run wherein he trades in his guitar for rich piano chords.

I fully expect TMOE to appear on top 10 lists for many years to come. He used to play free shows in Portland from time to time on Sunday night at Rontoms. I regret never having gone out to see him. Every few years some artist is bequeathed the title “the next Dylan” and I guess it’s not hard to see why TMOE is one. Labels aside, this man is a singular talent and I anticipate his return to Portland as I won’t miss out next time.

Down to the top three! Bede, Lackthereof and Ramona Falls are bands associated with the three guys up next. Find out tomorrow about the latest release from their much higher profile outfit.

Heathen Children

Nick Cave is rapidly becoming one of my favorite all-time artists and his latest project, the second Grinderman album, rounds out my top five albums of the year. Joining Nick Cave again this time around are resident Bad Seeds Warren Ellis, Martyn Casey and Jim Sclavunos and Grinderman remains a sort of alter ego for the boys. Where Nick Cave and the Bad Seeds have based a long and prolific career on creating dark songs about topics such as religion, love and death, Grinderman has become their light-hearted, sometimes scuzzy, often mysogenistic, always hard-rocking stress reliever.

Grinderman 2 is clearly more polished and produced than their debut album. While I still relish the first set’s raw and raucous energy and fuzzy edges I appreciate the growth and evolution we’re starting to witness and I sincerely hope this isn’t just a quick two-off side project to pass the time. The opening tandem of Mickey Mouse and the Goodbye Man and Worm Tamer is a perfect segue between albums as the former closely approximates the first set’s unpolished edge while the latter preserves its man-centric attitude. Will worm tamer become the theme song for feminists everywhere? (I’m doubtful, but Mr. Cave might beg to differ). You can tell straight off these guys are still having a great time doing this. Heathen Child is all kinds of fun, When My Baby Comes is a creepy slow builder, What I Know is a sparse meditation and calm before the storm, Evil! is balls to the wall and earns its exclamation point, Kitchenette is a bluesy romp with “Oprah Winfrey on a plasma screen,” Palaces of Montezuma is an absolute pleasure and one of my favorite songs of the year and Bellringer Blues rounds out the album with psychedelic satisfaction.

After taking such a shine to this album since its release in September, I decided it was time for me to take a trip back in time to 1984. I decided to go back and listen to the Nick Cave discography, starting with his first album From Her To Eternity (I know technically it all started with Birthday Party, but this is close enough for now) and so far I’m through 1994’s Let Love In. Not every album is a homerun, but not one of them is a failure either. Each has something to offer and each is clearly distinct from the previous one. It’s astonishing that this guy can maintain the same essential sound and style he’s always incorporated, yet still continue to evolve and gain relevancy even in today’s overwhelmingly bland and homogenized music culture. Here's hoping he never slows down.

It's a tall order to make it into my top four of the year. The next artist pulled it off. Read all about him tomorrow.

Together Again

A sentimental favorite lands at position number six. I first heard about the Greenhornes many moons ago while reading an article about bands that Jack White was into. Hailing from Cincinnati, they, along with bands like the White Stripes and Mooney Suzuki, were instrumental in the so-called Rust Belt garage blues revival of the early 90’s. Their 2001 self-titled album is still one of my favorites with irresistible hard rockers like Nobody Loves You and Lies.

It’s now been 8 years since the release of their last full-length and 5 years since their last EP. Where have they been you may ask? Well, half of them have been keeping busy backing up Jack in his main side project, the Raconteurs. Further, bassist Jack Lawrence (also known as Little Jack) has pretty much been JW’s right-hand man over that time, being featured in not only the Raconteurs but also Loretta Lynn’s Van Lear Rose and other White side project The Dead Weather. Lead singer Craig Fox has been involved with a decidedly lower profile side band, The Cincinnati Suds.

My first thought when I heard they were re-banding for a comeback album was concern. How do you move forward when half of your band has spent the last five years selling out large capacity venues, headlining festivals and being nominated for Grammys under the wing of one entrepreneurial genius from Detroit while the others have been playing with…The Cincinnati Suds? Shouldn’t these last five years have stirred up enough feelings of jealousy on one side and superiority on the other to make this reunion doomed to fail? The answer, thankfully, is no and there are two reasons it didn’t. One, their new album was released on Jack White’s label, Third Man Records. Although I haven’t read it anywhere, I like to think that JW, as a fan, encouraged the group to reunite and record while giving them all the financial and PR support they would need. Instead of being the guy who ripped apart a great band, he’s the fan and friend who’s making things right again. Furthermore, band interviews confirm that Fox harbors no ill will toward his now famous peers, a testament to their friendship since high school. The second reason they didn’t fail is because they just know how to make good music. They open the album with British invasion-infused rockers Saying Goodbye and Underestimator. Fox turns then turns soul singer on the catchy Better Off Without It and then they change it up again with the psychedelic Cave Drawings. Their 60’s influences are clear as they have been throughout the band’s career and the album continues, cycling through these retro styles. For me the highlight here is Go Tell Henry, a sexy, psychedelic romp with a killer guitar riff. And any review of The Greenhornes would be incomplete without a mention of their signature keyboard component, best exemplified on the closing track, the bluesy Hard To Find.

I had the awesome conundrum a few weeks ago of deciding between seeing these guys and Portugal. The Man (see #7 on this list) as they happened to be playing the same night. I chose the Greenhornes because they were playing the soon-to-be-defunct Berbati’s Pan and because I figured P.TM would be playing here again before too long. After seeing them, I’m more than satisfied with my choice. Their new songs sound great live and they’re clearly back and better than ever.

Next we crack the top half of this list with Mickey Mouse, The Goodbye Man and Number Five.

Portugal. The Man

Number eight was one of the perennials. Number seven, by contrast, is a newcomer to this list and a band I’ve only just discovered in 2010. There are many reasons I love living in the Pacific Northwest and one of the big ones is the ease of accessibility to new music. On just about any given night I can open the Willamette Week and pick a show at one of the local venues to attend and very rarely will I be disappointed. Portugal. The Man is a band I haven’t yet witnessed in the live setting, but they’re a band that gets much publicity in this region. Originally hailing from Sarah Palin’s own Wasilla, Alaska, they made the wise decision to distance themselves from her and ventured south to Portland. Hardly a new act, American Ghetto is the band’s fifth full-length release. While I am eager to explore their back catalog, I can only comment on this current album and also highly recommend the previous one, The Satanic Satanist.

American Ghetto has a spaced-out, electric vibe, replete with synthesizers and produced effects. At their core, however, these guys are just great songwriters and produce irresistible hook after irresistible hook. There’s not a bad track in the bunch, but a few highlights for me include the urgent 1000 Years, the sinister The Pusher’s Party (I love the Paul’s Boutique-esque drum breakdown at 3:38 [I know the B Boy’s swiped this from someone else, but I’m too lazy to track down the rightful owner]), the regretful and mellow Just A Fool and the peppy, sitar-laced closer When the War Ends. This is an album catchy enough to be satisfying from the first listen, yet deeply layered enough to get better with each subsequent listen until it ends up on heavy rotation on your portable media player and well-placed on your year-end list. Not surprisingly, this album, which was part of the mid-year swap, has drawn favorable opinion from PD. He will be happy to know that P.TM spent much of this last year working on their next release, due out in 2011, which is described as having a more prog rock feel and draws comparison to Pink Floyd.

I had the pleasure of seeing the next band on the list perform last month at one of my favorite Portland venues, Berbati’s Pan. Alas, that great show would be my last as Bertati’s closed its doors for the last time on New Year’s Eve. No more knocking back tall boy PBR’s waiting for the show to start. No more feeling weird about whether to tip the bathroom cologne guy. No more prime positioning right in front of the stage. No more post-show VooDoo Doughnuts. Berbati’s you will be missed.

Mike Patton è Dio

There are certain perennials that show up on these lists year after year. As evidenced yesterday, Jack White (in one form or another) has a presence nearly every December. Nick Cave and Tom Waits are two other favorites who show up time and again. This year’s number eight album is another of these artists, is the person who has served as the strongest glue bonding this blog’s authors together musically from day one and is a big reason, I believe, this blog exists in the first place. Mike Patton’s Mondo Cane is unlike anything we’ve heard from him before.

As diverse as any artist in pop music today, and having delved

into circus punk, alternative rock, heavy metal, hip hop, avant-noise, trip hop and many, many other genres, Mondo Cane is probably his most ambitious project yet. These 11 tracks are Italian language covers of pop songs of the 50’s and 60’s. Patton’s well-established admiration of the work of Ennio Morricone (see A Perfect Place soundtrack and the Crime and Dissonance anthology released on Patton’s Ipecac label) is clearly an inspiration as he breathes new life into these songs. His Italian is perfect, having spent much time there in the last several years at his second home in Bologna. I don’t speak any second languages, but listening to this album makes me want to. I still have plans to print out the phonetic lyrics to these songs so I can sing along in my car. This collection is a complete departure from anything we’ve heard from Patton before, yet in many ways is also an amalgamation of several of his previous interests. Here he incorporates a 40 piece orchestra and a choir and the recordings are actually live tracks from European performances. Urlo Negro probably comes closest to the usual Patton screech. Che Notte! is one of the more upbeat songs and Ore D’amore rides a sleazy guitar and keyboard intro. But it’s the crooning on the slower ballads that really grabs me every time. Probably my favorite tracks are the two that close out the album, both pleasant and sweet emotional builders. These are the ones you’ll be most likely to hear me belting at the top of my lungs as I drive down your street.

This album is top 10 of the year for sure and is among my top 10 Patton albums as well. Plus it appears he’s sparked a new trend here as the oft-mentioned-in-this-blog Danger Mouse is planning a 2011 release of his own based on his love of Italian film soundtracks of the 60’s, the upcoming Rome. Perhaps the Italian soundtrack will become the next perennial on my best-of-the-year lists. If Mondo Cane is any indication of the future of this surprising trend in pop music, the future sounds good.

Happy 2011. Tomorrow, Portland rocks number seven.

Their Kids Are Gonna Be Talented

Jack White remarkably didn’t make it onto my list this year. His latest Dead Weather release made him a contender, but ultimately it didn’t make the cut. That’s not to say, however, that his influence isn’t still felt. Number nine this year is the first of two members of the ever-present Jack White musical cadre. In fact, Karen Elson, despite being a newcomer and releasing only her debut album in 2010, is a member of the JW inner circle. Now, some might consider her releasing The Ghost Who Walks an act of nepotism, considering her other name is Mrs. Jack White and she is mother to his children. Some might also suggest I’m playing favorites on this year’s list because of the association. There may be some validity to this argument. After all JW did produce the album and his Raconteurs-style country/folk is pervasive throughout the album. That being said, she has a lovely voice and is a very talented songwriter and not only does this album belong among the best of the year, but she deserves all the accolades for it. (On a side note, I can't help but wonder if he didn't pair up with her due at least in part to the fact that her red hair and white skin fit with his strictly enforced color code.)

The album kicks off with two slow seductive tracks, the title cut and The Truth Is In The Dirt, both of which start out with eerie keyboard lines and the latter of which builds to a very White Stripes-esque steel guitar and electric guitar call-and-response. The fourth track, Lunasa, is possibly my favorite song of the year (depending on the day and my mood). It’s a beautiful, delicate three-part reflection on the end of summer and the heartbreak that comes with the changing of the seasons. The three parts play perfectly together and this track really showcases Karen’s beautiful voice. The next track, 100 Years From Now, is a vaudevillian romp which isn’t my favorite track, but one that I value as part of the collection as a whole because perfectly exemplifies the album’s richness and diversity. Cruel Summer is another very light-hearted and countrified tale of said season and speaking of country, The Last Laugh is a tender love song that sounds like it could easily be in the CMT Top 20. The album definitely starts stronger than it finishes, but among many great folk genre contributions this year, including strong releases by Ray LaMontagne and Robert Plant, this was the one that stuck with me most. With Karen Elson’s ability and her position as a member of pop music royalty, I suspect the best is yet to come.

Happy New Year to one and all! I can think of no better way to ring in the 2011 than with a review of the latest from one of my music idols. Log on next year to hear all about my eighth favorite album of this year.

Battle of the Bells

It was the year of the Bells. March gave us Broken Bells, the highly anticipated collaboration between Danger Mouse and Portland’s own James Mercer. The self-titled album exploded out of the gates with the wildly popular and constantly-radio-played single The High Road. This track comes replete with DM’s signature bloops and bleeps, a deeply satisfying tempo change and a hook more infectious than your annual Christmas cold sore. The rest of the album offers more of the same and I find myself returning to it on regular occasion. However, I must admit
that Danger Mouse fatigue is setting in. Actually it’s past setting in; that happened after The Black Keys’ Magic Potion was released. It’s become a low-grade fever at this point and will have likely progressed to a full systemic illness by the time his recently-announced plans to produce the next U2 album come to fruition. It’s pretty much become a rule for me at this point that as soon as any musician becomes associated with Bono and company they immediately cease to be cool or relevant (see Kings of Leon). That being said, I reserve the right to eat my own words as I recently learned of a forthcoming album inspired by Ennio Morricone with guest vocals by Jack White (more on that soon). Furthermore, The Grey Album alone earns him some supply of lifetime credibility in my book.

July saw the release of School of Seven Bells’ sophomore effort, Disconnect From Desire. This band doesn’t have the sound I typically go for, but they’re kind of the sentimental favorite. I was introduced to them by chance at a Thanksgiving night show two years ago when they opened for M83. My wife, sister-in-law and I ended up at the Doug Fir that rainy Portland

holiday night for lack of anything better to do and ended up seeing a great show. The sisters Schoen took a particular shine to the band comprised of the sisters Deheza and Ben Curtis of the Secret Machines. They’re typically pigeonholed in the “shoegaze” genre, but they’re much more than that in my opinion. The centerpiece of the band is the strong vocal harmonies created by the identical twin singers. Their second release builds on their first, the excellent Alpinisms. The vocal arpeggios are back and the 80’s synths are in full force. While Disconnect probably doesn’t quite reach the heights of Alpinisms, it is well-constructed with standout tracks like Windstorm and Babelonia. Expect more awesomeness from SVIIB in years to come.

Situated right between the above albums with a June release was Sleigh Bells’ debut album, Treats. I’ll just cut right to the chase and say that this one claimed the spot on my list. Early on I was calling it a guilty pleasure as I felt it was a bit gimmicky and didn’t break any new ground. These days I’ve shed the guilt and embraced the raw power that is Sleigh Bells. Bottom line: this band is all catchy hooks and all big fat beats. A June release was perfect for this album because it’s one of those ones you turn up really loud and play over and over again and it inevitably becomes a soundtrack for summer. Premium tracks are Run the Heart with an absolutely punishing bass line and the concluding Treats which features an epic guitar riff that would make even the CDMC’s resident metal head stand up and take notice. I had the pleasure of seeing this band open for The Black Keys a couple of weeks ago and let me tell you, that bass is indeed punishing. These guys are in close contention with the lady singer who claimed ninth best album on this list for new artist of the year. Stay tuned as her identity will be revealed tomorrow.

Best of 2010 - ZH version

What a difference a year makes. Last December I was scrounging to throw together a top 5 albums list of 2009. This year, on the other hand, the cup runneth over as I’m once again putting forth a list of ten phenomenal releases from the past twelve months. This year’s list still has a strong indie rock representation, but 2010 brings a little more diversity to the table with a good amount of contemplative folk, a dash of dependable blues and even a set of live covers of Italian film score songs (!)

Yes, it was a great year in music, though not exactly the year I was expecting. Many of the artists making appearances on my best of the year lists in the recent past released new albums this year that surprisingly fell short. Bands like Spoon, Dr. Dog, and Blitzen Trapper released solid but ultimately forgettable new music and didn’t make the cut. Other artists were involved with side projects that were high priority when I heard news of their upcoming releases, but lower priority after I actually heard the material. Maximum Balloon, side project of TV on the Radio’s Dave Sitek missed the mark for me as did, with much regret, the second Dead Weather album.

This year I was also reminded that beauty is in the ear of the beholder. I may have spent too much time seeking out critically lauded albums instead of focusing my efforts on my specific tastes. I tend to do this because I like to be exposed to new and exciting sounds and am always interested in broadening my horizons. To some degree it works and a few of them did end up on my list. In other instances I’m left scratching my head. A prime example is the new release from Ariel Pink’s Haunted Graffiti. Am I the only who feels like I’m the butt of a huge universal joke, perpetrated by every critic, music blogger and iTunes user in the country? What is redeeming about this music? The craziest part is that most reviews say this is his most accessible album to date. At any rate, this is the last bit of energy and attention I’ll be devoting to Ariel Pink and I advise anyone who reads this to follow my lead.

On to more worthwhile topics. Tomorrow I’ll kick off my best of 2010 list with number ten. In a year packed with so much quality, it’s only fitting that the final spot on my list comes down to a photo finish. Much like the NCAA’s added a play-in 65^th team to the bracket, I’ve expanded my list to include a three-band playoff. As the Christmas season concludes and we’ve been inundated with Jingle Bells, Silver Bells and Carol of the Bells I felt it only appropriate to stick with the theme. Check back here tomorrow for the Battle of the Bells.

Shameless Music Plug

iMainGo: Best portable music player on the market. Among USA Today's top tech gifts for 2010.
(I have no disclosure statements to make about this product, it is just awesome)

iMainGo X product review

Best Metal Albums (a recent list)

15. Lamb Of God - "Ashes Of The Wake" (2004)

New Wave Of American Heavy Metal combine old school thrash and metalcore influences.
Highlight tracks: Blood Of The Scribe, Laid To Rest

14. Baroness - "Red Album" (2007)

Independent metal with Southern rock grooves.
Highlight tracks: The Birthing, Rays On Pinion

13. Dream Theater - "Train Of Thought" (2003)

Heavy progressive rock with nuances of Rush and King Crimson. Complex time signatures with unbelievable guitar and drum work.
Highlight tracks: As I Am, In The Name Of God

12. High On Fire - "Snakes Of The Divine" (2010)

Leaders of the "Stoner Metal" sub-genre. The title track is among the best metal songs ever written.
Highlight tracks: Snakes Of The Divine, Fire, Flood & Plague

11. Nevermore - "This Godless Endeavor" (2005)

More progressive metal. Opeth's lead guitarist/singer, Mikael Akerfeldt, commented on this being his favorite album of 2005.
Highlight tracks: This Godless Endeavor, Born

10. Iced Earth - "The Glorious Burden" (2004)

Taking cue from NWOBHM bands such as Iron Maiden and Judas Priest. This album debuts Judas Priest's replacement vocalist, Tim "Ripper" Owens, for the then departed Rob Halford.
Highlight tracks: The Reckoning (Don't Tread On Me), Gettysburg


9. Wolf - "Black Wings" (2002)

Tracks that seem to have been taken directly from an Iron Maiden lost songs vault. Wolf is a Swedish metal group with riffs that rival those Maiden released in the 80s.
Highlight tracks: Genocide, Venom


8. Trivium - "Ascendancy" (2005)

Written when lead singer/guitarist Matt Heafy was only 18. Ascendancy skillfully blends metalcore and thrash. Clean vocals and 'Cookie Monster' growls can be heard throughout.
Highlight tracks: Pull Harder On The Strings Of Your Martyr, A Gunshot To The Head Of Trepidation


7. The Sword - "Warp Riders" (2010)

The Texas metalers third outing takes hooks from such local influences as ZZ Top and Pantera. Southern rock meets thrash in perfect harmony.
Highlight tracks: Lawless Lands, Tres Brujas


6. Megadeth - "United Abominations" (2007)

Dave Mustaine and Co. continue to thrash and this release is their 2000 decades crowning achievement. The blistering guitar solo on Burnt Ice is worth the price of the album itself.
Highlight tracks: Burnt Ice, Blessed Are The Dead


5. Dimmu Borgir - "Death Cult Armageddon" (2003)

Death metal meets John Williams. The album was recorded with the Prague Philharmonic Orchestra. Strings have never sounded this brutal.
Highlight tracks: Progenies Of The Great Apocalypse, Cataclysm Children


4. 3 Inches Of Blood - "Fire Up The Blades" (2008)

Cam Pipes lives up to his name with vocals that would make Rob Halford and Ronnie James Dio cry. Songs about swords, sorcery and Middle Earth. This is metal.
Highlight tracks: The Hydra's Teeth, The Goatriders Horde


3. Iron Maiden - "Brave New World" (2000)

It's Iron Maiden and it hasn't been this good since 1984.
Highlight tracks: The Wicker Man, Brave New World


2. Mastodon - "Blood Mountain" (2006)

A concept album about a man in search of the Crystal Skull to place atop of Blood Mountain in order to remove the reptile brain to achieve the next step of human evolution while being warned by a clairvoyant, one-eyed Sasquatch. I cannot make this stuff up. It's awesome.
Highlight tracks: Capillarian Crest, Sleeping Giant


1. Opeth - "Ghost Reveries" (2005)

Metal album of the last decade! Flawless. Arguments do not apply.
Highlight tracks: Reverie/Harlequin Forest, Ghost Of Perdition

Country Finally Rocks!

I've never been a big fan of country music aside from the old greats like Johnny, Willie, Waylon and Merle. The Highwaymen (Cash, Nelson, Jennings and Kristopherson) was a band to only which The Traveling Wilburys can come close to touching as far as "supergroups" go. Johnny Cash still seems to put out relevant music late in his career and post-mortem. And T Bone Burnett has put country music back into popular culture with the likes of the 'O Brother Where Art Thou' soundtrack, Robert Plant and Alison Krauss' 'Raising Sand' and the 'Crazy Heart' soundtrack. But only recently has there been a legitimate, pure country album release that's worth a damn.



Jamey Johnson's "The Guitar Song" was released on Mercury records and has single-handily gotten me interested in mainstream country. This guy solidifies 'outlaw' country to which Merle Haggard and Waylon Jennings were associated with in the 1970s. Packed as a double album, 'The Guitar Song' encapsulates what ol' school country is all about. With songs such as 'Poor Man's Blues', 'Mental Revenge' and 'Good Times Ain't What They Used To Be', Mr. Johnson seems to be channeling those Nashville legends. The album is split into a 'Black Album', which deals with themes such as alcohol overindulgence and love lost, and a 'White Album', which has a more upbeat, honky-tonk vibe. Songs such as 'California Riots' and 'By The Seat Of Your Pants' have long jam sessions that would have made Ronnie Van Zant proud. The album is also packed with enough lap pedal guitar, keyboards and tinges of soul music that even a cavalier fan of country music (such as myself) would find intriguing and classic. Twenty-five songs deep, surprisingly, this guy doesn't miss a beat. GAC and CMT take note. I'd go to the Grand Ol' Opry to see this outlaw in a heartbeat.