Week 45

The Beautiful Letdown by Switchfoot

Yes, yes I know. This one is old news. But actually, it's not. 

I remember when I bought this album years ago thinking, "these guys have a pretty unique sound." Of course I was into the singles "Meant to Live" and "Dare You to Move," but I liked just about every other one on this release too. Some killer writing to front surprisingly varied playing from the group.

Anyway, here's why I've been re-digging this album pretty hard lately:

I'm sure everyone remembers the hard rocker "Meant to Live," the first single and first track from this album. Very catchy guitar riffs, Bonham-esque drumming and a pretty inspirational message. Really a sum of the whole album if you ask me!

Next up is "This Is Your Life," a track that asks the listener to look inside. Even though Switchfoot is a band that crosses back and forth between Christian and non- music regularly, it's still unique to hear a group pose such a question to the listener. Most of the time we hear stuff that's about the singer or his/her loss. Not this time. The slow jam chorus is great for belting in the car... Just saying.

Number three is "More than Fine." This one that I didn't take to at first. Honestly, because of the cheesy 'timer going off' start and the 'thwappy' snare drum sample, I skipped this one several times just because of the intro. But... it gets better. The writing is honest and once again, inspirational. And truthfully, it's one we should all internalize. What' the point of living if you're not thriving?!

Following "More than Fine" is "Ammunition," one of my favorites. The funkified intro groove on kit is enough to pique my interest. But then we get thrown into a full-blown rock anthem. Has a distincting Pearl Jam/Stone Temple sound to these ears that basically calls us out. 

(We've been blowing up) We're the issue, it's our condition.

(We've been blowing up) We're the issue, the detonation.

(We've been blowing up) We're the issue, we're ammunition.

Presumably for our own problems. Accountability people! Don't love unless you mean to!

Next up is the album's rock ballad and second single "Dare You to Move." This one is a beautiful song that challenges the listener to well, move. You can live complacently, slowly drowning in your problems or you can reach up to something higher and never look back. While it is a little repetitive, it's still a great song that shows how much these guys are invested in their message.

"Redemption" is an interesting tune from the two sides it portrays. One is the argument for letting go of your fears to well, redeem yourself. The second is the inner self being overwhelmed by the scars of our decisions. Which do you focus on more? 

Following "Redemption" is the title track. An almost ambient intro with funky bass intro over some Gorillaz-esque sampling eventually leads to some post-pop riffing and grooving that's pretty tasty. Once again, Mr. Foreman delivers a fantastic way to put the following message: this material, ephemeral, limited world is not what we were truly made for. Probably my favorite track on the album. Killer playing, great layering, and may favorite song-writing out of 11 really well-written tracks. PS. Watch out for that bridge. It's a hidden gem.

"Gone" is next. I think of this as the albums cheeky, pop hit that would make fans of Ed Sheeran, Train, or Spin Doctors happy. Lots of little one-liners that come together to make a message that we all need to remember. Check it.

Three from the end, we get the true ballad, "On Fire." Sultry piano, mellow backgrounds, and soulful singing. This one could easily be the love child of Bebo Norman and Coldplay. That's not to belittle the content though. My very good friend Kella makes a point that illustrates this one quite well. Most people feel Him when they're close, but you have to open yourself up to recognize. 

Penultimate track is called "Adding to the Noise." It has the same flavor as "Gone" but rocks a little harder. Once again we're reminded that things of this place aren't the ones we need to focus one. Good stuff.

Rounding out the album is a song called "Twenty-Four." The title comes from the song's inspiration: Jon Foreman's twenty four years of living. Certainly is an honest song about how our experiences will follow us always. Eventually we have to quit making excuses or regretting things in order to get to a real truth. Not a huge fan of the sound of this track, but I do support the message!

If you couldn't tell, "The Beautiful Letdown" is an album I've listened to a lot. It's incredibly well done, with excellent songwriting, tight and groovy playing, and enough variety to keep any and all Christian/alt/pop/grunge rockers pretty satisfied. Give it a listen if you haven't already!

Week 44

New Music!

The Side Steps Quintet

Scott Amendola Band

Rolling Jazz Revue

John Newman

Check 'em out!

Week 43

Brass Band by Benny Greb

Once again, it is time to get down!

Benny Greb is a well-known funk inspired drummer from Austria. On this record, he teams up with a trio of brass musicians to put out some of the funkiest traditional brass band funk you've ever laid ears on.

This album is unique in the fact that the texture is the same on every track, yet every one has its own unique flavor. From the get go, we get a very '70s true funk number called "Good Question." This one has Sly or James written all over it. 

After the more contemporary brass band-ish "Icestattin," we get a very Galactic "Detective." This tune is funky but very lyrical at the same time. Even though the tempo is very lazy, the track gives a lot of room for all involved to demonstrate not only different knowledge of style but also several opportunities to improvise. The same goes for the smooth jazzified "Next Question." This is also the only track that gives Benny a true drum solo.

Other standouts include "Polka," which sounds like it'd be just as appropriate on the opening number for a Hanna Barbara cartoon. There's also the gospel-infused "Sweetbelt," which really gives the horn players a chance to go to town over a quick swing before opening up some space for Professor Greb to dig in. Very cool tune this one.

The last song on this record, entitled "Good Night," is the only true ballad and well, it's quite nice. Slow, sultry, and yet still funky, this is one of my favorites that reveals a lot of nuance and sensitivity on the part of the players. Very cool.

If you dig on some Soul Rebels or MMW and you're looking for something a little different, look no further. Mr. Greb to the rescue. 

Week 42

3 Brave Souls by John Beasley

This trio is one comprised of Miles Davis alums and it shows! Keyboardist John Beasley heads the group, but his contributions certainly aren't outshining those of Darryl Jones and Ndugu.

My favorites are the the gospel ballad "Come and Gone," the exotic "Ayala" featuring Bob Sheppard and Steve Taglavione, and "Nothing Left to Say," featuring Sy Smith laying down some sultry vocals. 

Check out a few for yourself.

This album is certainly funky more than straight ahead jazz, but there are plenty of influences to be found here. The Meters, Miles Davis, Donny Hathaway, and James Brown are all some that come to mind and there are many more to be sure. 3 Brave Souls has become one of my recent favorites from this genre and you'd have a hard time convincing me that anyone who listens to it won't be tapping their foot in a matter of seconds. Give it a listen people!

Week 41

Heather Maloney by Heather Maloney

Since my iTunes library is several weeks long, I rarely use Pandora or Spotify to shuffle through new music. However, every once in a while, I'm exposed to something by sheer happenstance that catches my ear. Enter: Heather Maloney.

Heather is a singer/songwriter with a unique sound. How's that for bland? But seriously, for someone who listens to 3-4 hours of music a day, hearing an artist who really catches my ear is rare. 

This is Heather's second album and well, I dig it. 

To me, what's special about this album is the approach that Heather takes. Instead of a bunch of songs that give her a chance to show off or get radio play, it reminds me of an instrumentalist's role: she let's the music come through her instead of the opposite. Very Bob Dylan. Check out some highlights, "Hey Broken," "Dirt and Stardust," and "Flutter." 

"Hey Broken," is probably my favorite tune from this album. It's got a hand-jive feel that has something reminiscent of Mumford and Sons or The Civil Wars. Thoughtful lyrics about knowing when to push against life and when to rest in a tasty package.

"Dirt and Stardust" is a more somber track about life's limited time. This one has Dylan written all over it if you ask me. Thoughtful, pensive, a little depressing, but overall... beautiful.

Here's "Flutter."

Heather is a force to be reckoned with. And although she may not wind up in the Top 40, she still has plenty of beauty to offer the world. Be sure to check out this album as well as the other two.

Week 40

The Ozell Tapes by Marcus Miller

So in my experience, owning bootleg copies of live performances is usually fun only for the novelty of it. Usually they're low quality recordings that feature the artist making lame jokes or having dialogue with someone sitting in the front row, which is unique, but really not fun to listen to. Thankfully Mr. Miller's bootleg album, The Ozell Tapes breaks the mold.

After the intro from Doug Epting, Miller launches into a super-funky groove called "Power." Funky bass, tasty synth, and crispy horn stabs courtesy of Roger Byam and Patches Stewart lock it in! For a live recording, this group is tight. This tune along with most on the album have a very 'Snarky-Puppy-before-there-was-Snarky-Puppy" thing going on.

Next up are two covers in a row: "So What" and "Lonnie's Lament." The Davis tune starts a little loosely, but soon resembles the tune you know. It's been giving the funk treatment and probably the coolest one I've ever heard. My head was bobbin' in about 10 seconds. Trumpet, tenor, guitar, organ, and bass get solos and they are all tight! "Lament" is a ballad by John Coltrane that represents a nice break in the action. It's still pretty funky, but at least it's a slow funk. I can dig on it, although to me, it's not really a standout on this record. Gets a little directionless at times.

Following "Lonnie" is a tasty joint called "Cousin John." I don't know who John is, but he must be a funky man. Some Funky Knuckle-esque half-time funk that really yields some quality solo time for the ol' string players and Mr. Poogie Bell on kit. 

Next is one of my favorites from the album, "Scoop." Heavy, raw, gritty, funk. I'm immediately reminded of the Budos Band if you're familiar. Just a smokin' riff from Marcus and tasty background contributions from the horn section. Although it's one of the album's longer tunes (12+ minutes), it maintains a high energy level and I guess that's why I can't skip it.

Finishing out the first disc are "I Loves You Porgy," and "Panther." "Porgy" is a tune I'm unfamiliar with, but I can tell you Marcus' version is killer. It's the first real ballad we've gotten and it's just... sexy. "Panther" is a more well-known Miller tune and it's groovin' as always. An open bass solo gives Marcus a chance to show off. Also a little crowd involvement gets the energy hoppin' on this tune. Definitely a sweet end to the first set.

First tune, second set: "3 Deuces." Be prepared to groove your face off.

3 Deuces

Next up is the second coolest treatment of Amazing Grace I've ever heard (MMSW is hard to beat!) Sax solo gives way to some free jazz-esque grooving until Mrs. Lalah Hathaway takes over just before the 5:00 mark. Girl's on top of it. Also, if I'm not mistaken, Marcus solos a little on the ol' soprano sax on this one.

Following is another one of my favorites from the album, "Nikki's Groove." Just awesome-sauce. It's one that he wrote for his daughter. Very Snarky Puppy-soudning again. Smooth jazz meets fusion meets Tower of Power. Check it.

Track number four from the second set is called "When Your Life Was Low." This sexy ballad gives Marcus and Lalah chances to sing. It's a very cool tune. That's all I have to say about that.

Last favorite: funkdefied cover of "Burnin' Down the House." I'm not sure I can describe it. Whether it's the voicings from the horns or the backgrounds, or Miller's playing, or something else, this tune always makes me smile. Give it a listen. Dean Brown on guitar and Marcus both take some face-melting solos on this one. Definitely not one to pass up.

Third from the end is "People Make the World Go Round." Poogie is layin' down a  sweet groove on skins and Marcus is singing! Despite its cool sound, I'm not a big fan. Just doesn't hit me in the groove-bone like the others from this recording.

Next to last, "Killing Me Softly." Heck. Yes. Lalah doin' it big.

The concert ends with a medley of Miles and Marcus tunes called "Hannibal/Amandla/Tutu." The ethereal intro gives way to some soft groovin' which gives way to some harder groovin' around the 5:00 minute mark. Cool trumpet soloing in this section and some wide open drum soloing. This tune alternates between loud, heavy, raucous sections and soft, gentle solos from the horn players. Kind of a weird way to end a concert if you ask me, but then again... you didn't.

All in all, this is one of my new favorite live recordings of any concert. It's also one of only a handful that I can listen to top to bottom and enjoy every song. Give ol' Marcus a listen if you need a reason to shake your groove thing.

Week 39

Blak and Blu by Gary Clark Jr.

This one is interesting. First, let's have a little honesty here. Black folks have done us all a solid. With the exceptions of classical, prog, and grunge music, most of the West's popular forms of music (i.e. jazz, hip hop, rock'n'roll, R&B, etc.) were pioneered by African Americans. Let that sink in. 

That brings me to this album. Gary Clark Jr.'s Blak and Blu synthesizes all of that in a single place. An interesting idea, especially for a debut.

So here it goes.

Off the bat, the opener is a neo-Chuck Berry roller called "Ain't Messin' 'Round." Uptempo, falsetto backup vocals, slightly-distorted guitar solo. Nice sampling of what Mr. Berry was doing back in the day with some new school flavor. It almost taps your foot for you.

Next is a straight-up blues rocker called "When My Train Pulls In." I'm not a huge fan of this song - just don't like the sound. But it does take the listener to a different era of Black music. Lots of gospel influence here with some seriously emotional guitar soloing. The North Mississippi All Stars would be proud.

Following "My Train," is one of my favorites, the title track. Think John Legend (there's even a "get lifted" quote!) meets The Black Keys. Urban blues gets a little alternative. Simple tune but unique and groovy. Check it.

Next up is "Bright Lights" and "Travis County." If "Blak and Blu" brings John Legend to The Keys, then "Bright Lights" would be The Keys takin' it to Mr. Legend. Dirty guitar and plenty of references to liven' in the city. That's all I have to say about that. "Travis County" on the other hand, has Chuck Berry written all over it. Copy and paste man. Little Richard's falsetto would be right at home in this one. 

Told ya.

With the next track, "The Life," we get the hip-hop side of the album. Easy, almost-spoken lyrics, fresh beat, and catchy hook. Definitely not East or West Coast, but some of the more spoken-word MCs a la Common or the boys of De La Soul would totally rhyme over this.

Back to electric blues with the next two, "Glitter Ain't Gold" and "Numb." Even though the messages are a little worn out, most material in blues music is. We all got the same problems! Gary proves again that even though he can do all the Black genres, blues is his thing.  "Glitter Ain't Gold" is another one that's a favorite of mine and "Numb" is no slouch either.

Now for a total change of pace, "Please Come Home" steps in. Soul, soul, soul baby. Four Tops, Temptations, Sam Cooke, Otis Redding. There all in there. Clark's rendition is surprisingly genuine. Doesn't try to reinvent the wheel and well, it works. Tasty horn hits, some clean falsetto vocals, a little guitar soloing, and lots of swing. Love it.

Next up is "Things Are Changin'" At first I wasn't a huge fan, but I came around. This one is hard to make an accurate comparison. It has the Legend sound and woman-centered content, but the way it's framed is very different. Every time I listened to this one, I found something new to like. Pretty cool.

Next up is a mash of two tunes "Third Stone from the Sun & If You Love Me Like You Say." The former is a pseudo-instrumental Jimi Hendrix tune that's a little weird even for Jimi. Very psychedelic. Lots of things to hear and see here. Clark's version is a little more conservative but obviously not a complete departure before giving way to the latter. Straight up blues with some tasty shaker work seriously effected guitar soloing before getting back into Jimi's tune. I suppose it's a cool tune although, I'll bet a live version would be much cooler.

Penultimate track is called "You Saved Me." You guessed it: more blues rock. Almost just straight up alt rock. Despite the heavy guitar intro, the meat of the song is a little lighter in texture, think The Black Coldplay Keys. The Blacoldpleys. Not really a fan of this one.

And lastly a lo-fi blues called "Next Door Neighbor Blues." Robert Johnson's ghost makes an appearance here. Very cool that one of the first Black genres to go mainstream (blues) is the last to appear on the album. Gary gives us a little slide guitar action and other than the gee-tar and his voice, that's all you get. Bare bones stuff right here that brings us full circle.

Overall, I'm a fan of Gary's debut album. The concept is interesting and frankly, ambitious. Glad he didn't try to go crazy, but instead demonstrates that he's capable of quite a bit more than the electric blues that is normally his bread and butter. Some may not like the jumping from genre to genre, but at least there's a point behind this game of leap frog. For some fresh samplings of all that a contemporary blues, R&B, soul, rock artist has to offer, check out Gary Clark Jr.'s Blak and Blu.