A New York Minute

A few months ago I picked up an album from PJ Harvey that had just been released, Let England Shake.  I was blown away by the record because of Harvey’s powerful lyrics and her honed-in folk sound.  This was in contrast to my first exposure to her music; Rid of Me (1993) was deep in the alternative rock sound but still hanging onto the indie scene.  Let England Shake is probably the best album I have heard this year that was released in 2011.  Her vitriol against the British government’s involvement in several wars around the world is carefully written and evolves over the course of the album.

Harvey has been prolific in her musical career, having released nine studio albums since her debut in 1992 with Dry (she has been much slower in recent years releasing material, but she has also been involved in several collaborations during that time).  Her live shows have become more eccentric over the years, too, incorporating costumes and other stage props to add emphasis to her songs.  But it’s her ability to write catchy tunes that has garnered her critical success.  Nowhere is this more evident than in Stories from the City, Stories from the Sea (2000), one of her highest-rated albums released.

#52 – PJ Harvey, Stories from the City, Stories from the Sea (Metascore = 88)

I’ll just say this right now—I love this album!  Since I really hadn’t kept track of her recording career other than a few tracks here and there until Let England Shake, I wasn’t sure what to expect.  What I got floored me!  The album opens with three unbelievable tracks:  “Big Exit”, “Good Fortune”, and “A Place Called Home”.  From the beginning, you understand this is a tribute to a town she had grown to love during her time living there, New York City.  Harvey said in an interview she wanted Stories to be “as beautiful as possible…I want this album to sing and fly and be full of reverb and lush layers of melody.”  She achieved all of these things here.

While NYC is her primary muse here, love is the overriding theme.  With Stories Harvey seems to have emerged from the emotionally difficult period of her life that saw the releases of To Bring You My Love and Is This Desire?, which were much darker in tone.  While there are some minor tones throughout this record, the lyrics keep this a happier affair.  Consider her duet with Thom Yorke on “This Mess We’re In”, where two lovers are parting for the final time but are remembering their love in the city.  It’s a beautiful tune, one of the best on this disc.  “This Is Love” (a single from the record) announces this new found love that she wants to use to overcome the dread of events outside.

When I pulled up the critic grades, I saw Pitchfork gave this record a 5.5, and I was shocked, because on the Wikipedia report of this album Pitchfork had listed Stories as the 124^th best record of the 2000s (which I confirmed).  So I read the original review, and I can understand some of the comments.  PJ went from being a tortured soul channeling her inner angst to being the revival of Chrissy Hynde of the Pretenders.  I can understand the comparison – some of the tracks do give off a Chrissy Hynde vibe.  At the same time, though, the lyrics are still very powerful, the songs are catchy, and it’s another trick up Harvey’s sleeve, to go counter-intuitive to what people expect.

Consider the timing that Stories was released—October 23^rd, 2000—and the focus of the album—New York City.  Nearly 11 months later, she was in Washington, DC and witnessed the events at the Pentagon as a plane crashed into it.  She had seen the footage of the World Trade Center towers being destroyed, these symbols of a city she had come to love.  When she won the Mercury Award later that same day (the first female artist to do so), she said the whole day had been “surreal”.  Stories in retrospect reminds us of the beauty that existed in New York City before these terrible events.  I personally think this record should be higher up on the list.  It is an amazing listen.

The Album in the Room

I have determined that Jack White is perpetually busy.  He recently was in the news along with his now ex-wife for throwing a “divorce party”, which I thought was odd at the time…er, I guess I still do.  But musically he has also been busy.  The Danger Mouse/Daniele Luppi collaboration yielded a single with White entitled “Two Against One”, which is an infectious spaghetti Western-type song, with its flamenco stylings and slinky beat (as a matter of fact, the collaboration featured the musicians that did the soundtrack to The Good, the Bad, and the Ugly, a fantastic Western).  White also just put his band the Dead Weather on temporary hiatus to focus on record production for his Third Man Records and is contemplating reforming one of his other side projects, the Raconteurs.

The White Stripes, though, will always define White.  Along with ex-wife Meg, White’s the White Stripes were known for their three-minute explosions of sound that featured loud guitars, simple but powerful drumming, and intriguing lyrics that would most frequently focus on love and relationships but would also venture into social issues and other topics.  With each record critics would find more and more appreciation for what the White Stripes were doing and would gain a better appreciation for Jack White as a modern musical force.  Not every song was a success, but each record would reveal a maturation in the White Stripes’ sound and lyrics.  The pinnacle of this maturation was Elephant, the topic of this blog.

# 12 – The White Stripes, Elephant (Metascore = 92)

The years 2002 through 2004 were an unbelievable time in Jack White’s career.  To say it was a creative peek may be too strong a phrase, but consider that in that time period he was involved in two of the highest-rated albums on this list—Elephant (2003) and Loretta Lynn’s Van Lear Rose (2004, which I have already reviewed).  What powered Elephant more than any other song was “Seven Nation Army”, which preceded the album’s release and took off in the Billboard charts, reaching #1 on the Modern Rock list.  White wails on guitar throughout while singing about overcoming those that try to bring him down, overpowering ill will until he is no more.

“Seven Nation Army” segues into “Black Math”, a song that takes the original framework of their garage rock songs from The White Stripes and De Stijl and refines it, with start-stop-start tempos and stronger lyrics.  “There’s No Hope for You Here” stylistically prefaces the work he would do later on Get Behind Me, Satan and with the Raconteurs, with organs and harmonies supporting a basic rock sound.  “I Just Don’t Know What to Do with Myself”, originally written by Burt Bacharach and Hal David, gets a powerful workout with great dynamics and an awesome vocal job by White (lyrically it fits the loose theme of the album about the death of a relationship).  Meg sings “In the Cold, Cold Night” fantastically here, sounding eerily like Astrud Gilberto in “The Girl from Ipanema”.

These songs set up the overall groove of Elephant.  There are straight-ahead garage rockers.  There are softer, safer songs.  There are regular rock romps.  The songs show how the band has evolved and matured in sound.  They also reveal the direction White was headed with future records, including his work with the Raconteurs and with the final two White Stripes records, Get Behind Me, Satan and Icky Thump.  Dynamics have played and continue to play a major part in White’s songwriting.  Has this been a detriment to his songwriting?  Perhaps he’s focused on it too much at times, but overall I think his best material has derived from this.

Obviously I am a White Stripes apologist.  I love rock music.  I play guitar.  I love songs that feature loud guitars, squealing solos, and a great beat.  Elephant has all of these things.  Most White Stripes records have all of these things.  What separates this record from the rest is the writing and sequencing.  Unlike White Blood Cells, which I felt wasn’t sequenced as well as it could have, this record is well sequenced and balanced. White’s penchant for dynamics is well balanced here.  The loose theme around Elephant is also carried throughout the record, which means you can follow the story through to its ending.  I believe the overall Metascore rating is appropriate for this record.  It is truly an achievement for the modern rock artist and has established the overall legacy of the White Stripes to rock music.

Three-Disc Monstrosity

Rather than complicate things for me on this head weary day, I’m going to discuss Joanna Newsom how I perceive her.  She is a very good young artist that takes a while to appreciate.  Her songs tend to be wordy, long, and at times tiresome, but to her credit she can keep things interesting most of the time.  Have One on Me developed during a challenging time for her.  During the sessions she damaged her voice, causing her to modify her singing style that was stronger during Ys.  She was also evolving her style, expanding her music’s sound to include an orchestra, drums, and other instruments that had not been included in previous records.

Have One on Me to me is a mind-boggling achievement for someone that was 28 when the record was released.  As the title indicates, the record is three discs and two hours full of stories—some fictional, some biographical, some personal.  This record is the highest rated of her albums on the list.

# 157 – Joanna Newsom, Have One on Me (Metascore = 85)

Having heard the record at least once before, I can say that this set is more accessible than Ys.  Also unlike Ys, this record is more diverse in sound.  Newsom’s sound has evolved as she has matured, and the way she presents her songs varies from the original folk of her earlier records (with her almost exclusively on the harp) to more soulful, Carole King-type rock to jazz to classical.  In many ways this record sounds like something Sufjan Stevens would create.  This variability in sound keeps me as a listener interested in what she has to play.

The first disc in particular demonstrates this diversity musically.  “Easy”, “Have One on Me” and “No Provenance” all reflect the original folk sound typical of her earlier records.  “’81” and “Good Intentions Paving Co.” feature a more soft rock sound.  “Baby Birch” builds up from a traditional folk tune to a hand-clapping, folk rock sound in its last 3 minutes.  “You and Me, Bess” (on disc 2) blends her folk pop with soul through the use of backup singers in an a capella R&B rhythm.

Lyrically, this record feels a lot more personal than Ys.  She still weaves the stories in the ways she always has, but on this one there is more introspection.  Her story songs tend to be long-winded (“Have One on Me”), but her personal songs I found to be more satisfying.  With a three-disc set, she probably had an easy time adding introspective songs, and I am glad she did.  Some of my favorite tunes here are “Easy”, “No Provenance”, “Baby Birch”, and “Jackrabbits”, all of which she presents in a dreamy context, musing over loves and life in a sometimes literal and sometimes fictionalized story.  I enjoyed her lyrics on this record.

Overall I take away a much more positive response to this record than I did initially.  I used to treat listening to the tracks as a chore because of their length.  Now, having taken a moment to think about the songs, listen to the music, and put the parts together, I see how this record achieved strong reviews.  Newsom has done a great job in maturing as a songwriter and singer and seems to have an endless palette for creativity.

One More James Murphy Record to Hear

To have one record on this list is already an accomplishment.  That means that critics generally felt very highly about your record.  To have more than one record on this list is a testament to the creativity, innovation, and longevity.  LCD Soundsystem, specifically James Murphy, personifies the latter.  On this list there are three LCD Soundsystem records, the first of which I am listening to today.  Had I run this list a few months later, chances are they would have had four records on the list (This Is Happening would have most likely made the list).

The reason I find LCD Soundsystem so fascinating is that, unlike many techno artists, Murphy and his crew utilize all types of instruments in addition to turntables and computers to create their sound.  Murphy himself is a multi-instrumentalist…I envision him as the guy with a bass drum strapped to his back while he’s playing the guitar and accordion and other instruments while walking around.  He’s not afraid to take chances on his records, and it shows in the strength and danceability of the songs.

# 128 – LCD Soundsystem, LCD Soundsystem (Metascore = 86)

LCD Soundsystem is a two-disc record that was originally released February 2005.  The first disc represents newly recorded songs, while disc two is a compilation of songs that Murphy had released from 2002 to 2004.  The record is pretty eclectic in its sound, but you begin to hear Murphy’s signature as you go through the record.

The self-titled record opens with my favorite track from LCD Soundsystem, “Daft Punk is Playing at My House”.  The song itself is a playful tune about having a house party, and Daft Punk is actually playing it.  When I hear it, I believe Murphy is paying tribute to a band that had a significant influence on the sound he wanted to pursue with his band.  The song is a bouncy tune that I have heard used on commercials and call-in shows the last few years.

Both discs are an all-out party assault.  Each song creates a different groove to do some type of dance.  Lyrically Murphy is not addressing social concerns or political injustices or anything of the sort.  The songs thematically can range from love and relationships to dancing and partying.  Murphy is just keeping it simple.  I have always liked his lyrics because many times he is self-deprecating, and other times he uses a sort of sly style that’s borderline sarcastic.  That makes for a fun listening experience.

What I hear differently on this record that I am accustomed to on their later records is more frequent use of instruments as opposed to the computers and other programming used in 45:33 and Sound of Silver.  You can hear this particularly on songs like “Never as Tired as When I’m Waking Up” and “Movement”, both contrasts in styles, too (“Movement” is a punk pop song, whereas “Never as Tired” sounds like a slowed-out jam from T. Rex).  However, you do start to hear the unusual eccentricities in Murphy’s vocals.  He sounds whacked out at times, robotic at other times.

Disc two is more akin to 45:33 and Sound of Silver, featuring more programming than instruments (drums and/or some type of percussion always exist on the songs).  Since these songs precede 45:33, the first few tracks (“Losing My Edge” and “Beat Connection”) feel like the precursors to the direction Murphy would take in 45:33.  In contrast, “Give It Up” and “Tired” are edgier punk songs more like those on the first disc.

Admittedly I should have planned better when I started this blog.  For those bands that have multiple records on the list, I should have started with the earliest record first to see how the band/artist has evolved.  I didn’t do that with the Hold Steady, unfortunately, nor did I do that with LCD Soundsystem.  However, I still feel as if I could see and/or understand the direction the bands took in their later records.  LCD Soundsystem is a good record, though not as cohesive to me as 45:33 or Sound of Silver.  It is an innovative record, though, and a great intro to an interesting band that just wound up its final shows a few months ago.

A Spectacular Soundscape

After a long break, I am returning to writing again.  I saw an article on Spin’s website about Animal Collective’s first actual show at Merriweather Post Pavilion in Columbia, Maryland, so I decided now was as good a time as any to write about their best record to date, Merriweather Post Pavilion.  Animal Collective originally hails from the Baltimore-Metro area (though many live in New York City or other parts of the world), so they were well aware of the venue.  The band members include David Portner (aka Avey Tare), Noah Lennox (Panda Bear, the very one I wrote in my review on Person Pitch), Brian Weitz (Geologist), and Josh Dibb (Deakin).

The band’s sound is characterized as being very experimental, almost psychedelic in leaning.  The band started pursuing this route in music after experimenting themselves with psychedelic drugs as teenagers and then improvising during rehearsals and performances.  Each member was and always has been prolific in creating new sounds and songs, expanding the ranges of the instruments they use (each member plays multiple instruments).  Their history as a group (working collectively or in duos) is fascinating to learn.

The band’s maturation process through being apart in college early on to the first collaborative performances as one group to a nearly disastrous tour through the Deep South led the band to greater and greater heights in their music.  The pinnacle of this maturation has been Merriweather Post Pavilion, which was released in 2009 and garnered a terrific Metascore.

# 37 – Animal Collective, Merriweather Post Pavilion (Metascore = 89)

The first time I remember hearing this I wasn’t sure that I liked it.  I wasn’t even sure why I had picked up the album other than the title.  The music was unusual to me for some reason (this coming from a guy who loves Sonic Youth and was getting into some of Captain Beefheart’s music).  Two tracks roped me into this album—“My Girls” and “Summertime Clothes” (coincidentally or not, these were the first two singles from the album). 

“My Girls” is one of my favorite songs of all time.  Yes, I said “all time”.  Panda Bear sings this fantastic song about wanting to provide the best things he could for his wife and daughter, including a nice house.  He also sings about not caring about “material things” or “social status”.  The samples and beats from that song just blew my mind!  I also really liked how the band (minus Deakin, who at this point was on hiatus from the group for personal reasons) stringed vocal harmonies in coordination with the beat.  I just love this song!

“Summertime Clothes”, the other song, was the other drawing track, this time more for its Beach Boys’ Pet Sounds ambiance than anything else.  From reading a little about their formation and history, Avey Tare seems to be singing about living in New York City and nights spent looking for things to do.  The development of the song around the lyrics feels like they ripped the organs and electro-theremins straight from the musicians on “Good Vibrations” (yes, I know this was not on Pet Sounds, but it comes from that same period).

The other songs on this album help to make this record a very accessible listen.  No song really pushes you off; a few at times may seem too experimental (“Daily Routine”), but then something about the song intrigues you as a listener.  This really is a friendly, accessible record.  Even though the record embodies every experimental element they have employed through the years, the band is able to craft these tunes that can reach just about anyone.  Lyrically these are themes that anyone can feel (domesticity, love, inspiration), and I think all of these elements helped garner the record the critical acclaim it has received.

Today I really, really enjoy this record.  This is one of those records where the more I listen, the more I appreciate the nuances within each nook and cranny of sound and vocal.  This is a record where if you give it a chance, you will be rewarded.

Madvillainy

Before I kick start this entry, I have found a way to hear most if not all of the albums remaining that I need to listen to for this blog.  I’m excited to have found a valuable resource to do this.  Anyway, some people may have heard of Don Van Vliet, aka Captain Beefheart, and his Magic Band.  They were a bit out there; you could characterize them as avant garde rock outfit combined with psychedelic rock sensibilities (that’s when they got their start, at the height of the psychedelic rock movement).  Having heard a couple of their records, they were a very odd band—odd lyrics, odd time signatures, odd keys.  They were just out and out odd, but that was the beauty of their music.  Their influence is far reaching across music.

Madvillain is a unique hip hop group.  The group is comprised of MC/producer MF DOOM and MC/producer Madlib.  When I first heard Madvillainy, I was struck by how bizarre they were, and Captain Beefheart was the first artist I thought of when I heard this.  Like Captain Beefheart, Madvillain utilizes unusual lyrics and music in their songs and took hip hop to a far off region.  Madvillainy received universal critical acclaim upon its release and is the next entry in this blog.

#6 – Madvillain, Madvillainy (Metascore = 93)

Prior to this listen I have only heard it one other time, and I was floored by its sound.  This record surprised me quite a bit.  Unlike Stankonia by Outkast (which I haven’t yet reviewed but will soon), which has standard beats with smart lyrics, Madvillainy is bizarre musically and lyrically (I realize I have said this before).  I was struck by how strange yet powerful this record is.  This has probably been the first rap album I have heard in a while where I felt the artist has taken the sound in a new, fresh direction.

The beats in “Accordion” are unlike anything I have heard before, and that is just a sampling of what goes on through the record.  MF DOOM’s vocal style reminds me of Erick Sermon in his EPMD days.  There are more references to people, places and things on the record than there are messages.  Typically when I have heard albums on this list, the songwriter has some theme or meaning or both that I believe influences the critics reviewing.  With this record, MF DOOM and Madlib take on different personas when they rap, and they pattern their lyrics to work with the beats, so while there doesn’t seem to be a clear message, there are some very interesting rhymes.  As I read on Dusted Reviews, MF DOOM is here to battle.  The beats Madlib created in Brazil and back in the USA are insane, so to write around these is a major testament to the abilities of the two.

This is my third time hearing the record in the last few days, and each time there is something different about this record that I like.  According to what I have read, songs from this record leaked early in 2002, so Madlib and MF DOOM decided to lay low, continue working on the record, but not releasing anything for a while save for some personal projects they were working on.  The postponement seemed to delay the inevitable: a record that was and continues to be difficult to top in terms of style.  I definitely would recommend this record (just note that the lyrics can be explicit if you are sensitive to them).