Posts Tagged ‘the white stripes’


Off This Century – My Favorite Albums of 2000-2009

December 25, 2009

More small reviews

June 28, 2007

Slowdive – Catch The Breeze [Compilation]
Was it really a good idea to make this compilation in the first place? It should be known that Slowdive is a wonderful band and there really needed to be some kind of introduction for new fans, but why make it two disks when the band had so little material? This includes nine out of ten tracks on the original release of Souvlaki, barely anything from Just For A Day, and half of Pygmalion, as well as a lackluster selection of rarities from some early EPs. To be quite honest, this is unnecessary and poorly compiled, and anyone who is interested in Slowdive after buying this will want the rest of their stuff for the sake of completion, making this even more frustrating. What we really needed was a rarities collection, a compilation of all the hard to find EPs that include other songs that fans really want to hear but can’t bear to spend tons of cash in different places for. Which brings me to yet another problem with this, the price. It’s an import, so it’s going to cost around twenty five in the States if you can even find it, because it’s rare. This is really only for hardcore completionists who want the art and liner notes, but for anyone else the recent re-releases of the studio LPs that round up all of the officially released goodies on their bonus disks is more than enough and does more good than this does. On one hand all of this music is great, so I can’t really bear to give this a horrible rating, but as a purchase this is really stupid.

Blind Faith – Blind Faith
I was very apprehensive when I first listened to this, mostly because I don’t really like Eric Clapton that much. To be honest, I just really didn’t want to like this at all. But for whatever reason I ended up enjoying it to a certain degree. The first three songs are darn good. Had to Cry Today is a classic riff, and Well All Right is too, but I really prefer Can’t Find My Way Home, a quaint little acoustic tune that is probably my favorite song on the album. The one even casual Clapton fans seem to know is Presence of the Lord, which really does nothing for me because the whole religious thing kind of doesn’t sit well. But I guess the peak of the album is the final rocker/jam Do What You Like, which at times is very cool but probably could have been chizzled down, at least the long bass and drum solos. There are really some talented people working on this album. Clapton and Baker are really some of the best on their respective instruments. But like most stuff from this lite 60s blues genre, the guitar style and production bores me to no end. That doesn’t stop this from having some choice songs though, and it may be a better place to start on Clapton’s career than the likes of his solo albums.

Sonic Youth – Sister
Pinning Sister as a second best record really undermines the fact that it is a great record and not just the alternative to the obvious. While this is not an obvious record, like most albums by Sonic Youth, it is still immediately recognizable as a true classic of it’s decade, virtually refining noise-rock and displaying Sonic Youth’s songwriting ability and truly monumental style. Perhaps the comparison is made because Sister is not quite as ambitious or relentless as Daydream Nation, but in any case it is just about as enjoyable in terms of good songs and the overall result. What Sonic Youth does with undeniable success is rain the easygoing nature of American youth into a single album which does it’s damage with great consistency. At some points the album feels like the soundtrack to a quick weekend trip through rural America with your buddies, and to me that is represented by the cover pretty well. Sometimes this album is soft, with the wonderful Schizophrenia and the appropriately titled soft/hard noise of Tuff Gnarl. And sometimes it is great punk with choice numbers such as Catholic Block and Hot Wire My Heart. The album gets more rocking as it goes along and is very abrasive and by all means not a softie, and the only one song goes over the five minute mark, making it feel more listenable to the casual fan and easier to swallow, making this a good place to start. A noise rock landmark that not only deserves respect but demands it.

George Carlin – Parental Advisory Explicit Lyrics
Although George Carlin is without question one of my favorite comedians, this is not his comedy working at it’s best. In my opinion, his sense of humor translates best through his books, but for a live comedy album, you could do worse than this. However, most of his completely outlandish comedy is overshadowed here by vulgar social satire, some of which is good and some of which isn’t. More than anything, George Carlin makes some really good points here and completely tears down politically correct walls and makes them his bitch. Especially provocative are “I Ain’t Afraid of Cancer” and “Rape Can Be Funny.” But as informative as this humor might be, it really isn’t all that funny. Carlin is his best when he is spitting anger and completely outlandish, random complaints, but here is more of a constructed approach to his psyche. Essential for fans, but in my opinion it’s a hard comedy album to listen to.

Cocteau Twins – Violaine [Single]
As far as I know, the Violaine series was the last material the Cocteau Twins ever released. In more ways than one, the series of EPs for the singles Tishbite and Violaine are just as important if not more important than the album they came from. Finding these singles is quite the task, and paying for them is even harder, but hunting them down individually or getting them in the box set Lullabies To Violaine is surely worth it. Like all of the Twins’ singles from the time, the song Violaine doesn’t take too many risks but is still quite a good song. All of the other songs are equally accessible, romantic, and at times wonderfully fragile. But the truth stands, the sound of the Milk and Kisses sessions feels a bit recycled from the Four Calendar Cafe recordings. In any case, these songs are lovely and a treat to any Cocteau Twins fans. The swirling bittersweet romance of Circling Girl and Smile are simply lovely, but the other two b-sides are the real treats. Tranquil Eye is a fine lullaby, and Alice is really like nothing the band ever did, from an era that otherwise doesn’t stand out that much. The song is one of Liz Fraser’s best vocal performances, and a mysterious, almost dark song that is a personal favorite of many fans. More than appropriate as a last released song for the band on their last single. For fans who have already deciphered the bands unique sounds, completely essential.

The White Stripes – Blue Orchid [Single]
I don’t know exactly what issue of the Blue Orchid EP I have is, but it has the title track, the two b-sides, and the You’ve Got Her In Your Pocket live take. As a big White Stripes fan, I’ll pick up any singles I see in the store, which is actually pretty rare to see. But this was more of an asset to me than the Walking With A Ghost EP by a long shot. The single is damn good, one of the few good ones from Get Behind Me Satan. And the two b-sides are disposable but fun little scraps/leftovers. Whose A Big Baby is funny and playful as long as you don’t take it seriously, and Though I Hear You Calling is just plain fun. But the live take I’m just not interested in, and although the song has some good moments, it might be my least favorite song on Elephant and is all around not that good of a performance. In a word, interesting. Fans will want this.

Cocteau Twins – Dials/Crushed/The High Monkey-Monk/Oomingmak
This rare EP which I believe can only be found from the Cocteau Twins first box set contains five absolutely wonderful, classic Cocteau Twins numbers. In terms of mood and sound, this matches The Moon And The Melodies relatively closely, or at least the first and last songs do. But to be fair, these songs have much more identity and feel a lot more special than any songs from that album. The lovely Dials starts off the disk, and an instrumental version of Oomingmak ends it beautifully. But it’s the ones in the middle that really matter. Crushed is a typical pick for best Cocteau Twins song from hardcore fans, and The High Monkey-Monk is like nothing the Twins had ever done before, combing their lovely ambiance and dream-pop sensibilities with an eastern tinge making for an absolutely priceless cut. I have no idea about the rarity of this release, but these songs are four of the bands best and whatever trouble it takes a fan to hunt them down is worth it.

Arcade Fire – Funeral
Since their 2003 self titled EP debut, Arcade Fire have reached near mythical, untouchable status in the indie community by means of two fantastic albums and a killer live act. And Funeral raised the majority of that hype. If I recall correctly, Funeral stands as the best selling indie debut of all time, or something like that, but the details don’t really matter… Even upon it’s release, there was a stampede of popularity. Funeral is a tour de force of everything that indie rock has ever been about. Clever instrumentation is the first big draw. Using a myriad of creative instruments such as bells, accordions, violins, cellos, and even kettle whistles during Neighborhood #4, the band produces an interesting sound that does not let up. The fact that this album is about death does not overshadow the fact that it is also about love. For the most part, the album stays solid and lovely the whole way through. Almost every track stands out. The opening Tunnels is a touching love song, Power Out is an amazing explosion of energy, and an anthemic masterpiece is achieved with Rebellion. But they reach true pop bliss with Haiti, an irresistible tropical bounce, when Regine Chassagne whispers “in the forest we are high.” The album is not without it’s small flaws though, but perhaps they make Funeral all the more lovable. The production is creamy and smooth, which is probably why it gained so much popularity in exchange for a little backbone. Also, the vocalists styles are unique but also not necessarily always great. And a few low points are reached, namely 7 Kettles, but the spirit of the album is revelatory and lovely enough to captivate anyones mind. Big surprise, we finally have an indie band that meets almost impossible hype. A real keeper.

The Clash – London Calling
London Calling, The Clash’s massive double LP, is just one of those punk classics that I could never really truly like despite my best efforts. But to me, this isn’t really classic punk but instead classic punk-pop. It’s best moments more than justify it, and I can definitely see why people like it so much, but the majority of these songs are simply tired to me. It’s best moments are either some of the most brilliant, heavy songs the punk movement ever heard or wonderful pop; London Calling, Brand New Cadillac, Hateful, Spanish Bombs, The Guns of Brixton, and Train in Vain are all fantastic songs. But the majority of everything else is plagued by hooks that apparently only I deem cheesy. Specifically, songs like Rudie Can’t Fail, Jimmy Jazz, Lost In The Supermarket, and Clampdown are horribly annoying. Part of the problem I had with this album was the occasional reggae that they tried to work into the music which really only ended up severely annoying me. This is a monumental album, because not ever before had punk been drawn so freaking close to pop, enough so for the genres to meld. Thus, this is an essential punk album and subject of countless classic hooks. I mean really, I heard it first when I was a little kid and I was amazed even back them how many songs I recognized from the radio and pop culture in general. It’s also got that classic album cover that represents everything that punk is all about, and it is eternally plastered in my mind from being framed in so many of my friends houses. It’s a classic album. Half of it simply annoys the shit out of me, that’s all.

The Jesus And Mary Chain – Darklands
Considering the circumstances of the previous album, Darklands is a pretty ambitious album, even considering it’s tame nature in comparison to Psychocandy. Instead of loud, hooky punk-pop, The Jesus And Mary Chain created breathy, touching love songs, as well as including both Reids in the vocal responsibilities. The sheer emotional power that these songs hold is sometimes staggering. The three singles, Darklands, Happy When It Rains, and April Skies, are among the best the band has ever created, and the rest of the album is fairly solid as well. The problem might be the environment in which this is listened to. If you actually find yourself listening to this in your house on a rainy day, you probably WONT be happy. But at the same time, these songs hold considerable weight when played at the right time and in the right place. This may be tiring to listen to all the way through, as it does not let up in it’s revelatory romantic mood, but the truth still stands that this is another record that built a signature JAMC sound, as every record of theirs did. They never really came back to this style, making it feel like an anthem packed explosive valentine to fans. Wonderful in it’s own way.

Sigur Rós – Ágætis Byrjun
The Icelandic band Sigur Ros, by this point in their career, have redefined and expanded their sound enough times to completely avoid categorization. Are they rock? Are they ambient? Or are they simply some breed of sophisticated pop? The only thing for certain is that Sigur Ros aren’t afraid of being themselves, and have an awe-inspiring artistic freedom. Throughout this sprawling sophomore album, Sigur Ros created possibly their most accessible and simulatneously memorable album of their careers. The strategy utilized on Ágætis Byrjun is the same that was used on Von and would be used on future albums () and Takk. That strategy is simple. More means more. Which is ironic, because the opening introduction track is exactly the melody that the listener would want expanded on to about five minutes. This may seem like a pretentious move, but many have mistaken Sigur Ros’ all-over-the-place style and relentless experimentation for pretentiousness only to gradually realise that it is true beauty and the art of learning while writing songs. Really, it is quite impressive how consistant this album stays. The bands style here is to combine subtley atmospheric instrumentation with emotive, soaring melodies. These songs sound huge, both in length and in scope, and the result is surprisingly warm. This also sounds very unlikely, almost too good to be true. But what do you know, Sigur Ros pull it off, against all odds. From the opening Svefn-G-Englar, vocals are given extremely relaxed treatment and strings and a lovely melody is gradually explored. It’s hard to believe it, but every track is standout. Around the middle, the album shifts into a more dark, melancholy mood for the extent of two songs, Ny Batteri and Hjartao Hamast, which help to make Ágætis Byrjun Sigur Ros’ most representative album. The extent of my gruff is that the band repeats themselves a little here and there, but who doesn’t like more of a good thing? Happy, sad, lovely, dark, bright, relaxing, urgent. Sigur Ros are all of these things and more on their many albums, and this is the one that just happens to be the best. Although it may seem “uncool” to like Sigur Ros in some of the indie circles, emotion doesn’t lie. Sigur Ros is a wonderful band with a myriad of wonderful sounds. Start here.

Tool – 10,000 Days
While I would have deemed 10,000 Days the worst Tool album to date a couple of months ago, I have given it enough time to decide that it is slightly better than Undertow. The sheer quality of the album is simply shadowed by how difficult and limit pushing the music is. Every song on the album is in some way a new exciting revelation for Tool, who having been out of the studio for five years really had to prove that they weren’t loosing their touch. Some familiar aspects of Tool are still here. The touches of filler, the difficult rhythms, and progressive style are still here. These details remind us that Tool is still very much one with their fans. During the filler song Lipan Conjuring, Adam Jones “sings” along lightly with a creepy Native American chant. This detail caught my ear for some reason. It is just a subtle reminder that the band does not let up, even when they are crafting a small, seemingly insignificant nuance. Once again, every corner of the album shows Tool doing what they do best in new ways. Maynard’s voice sounds much different at times, which is alright, because his voice actually sounds more smooth and his lyrics are only getting better and more insightful. The radio hit Vicarious is hypnotically dark, as the lyrics describe our painful world to be like. Jambi. The most difficult part of the album is the long, pained Wings for Marie series, dedicated to Maynard’s recently departed mother. Tool have never made a piece this long and progressive, and it’s fun if not a little difficult to get through. The album contains less memorable riffs than other Tool albums, but on the other hand The Pot is easily among the absolute best songs the band has ever creates. It has rock solid riffs, a frenetic pace, and downright unbelievable guitar and bass work. In fact, the entire album features perhaps the most impressive instrumentation the band has shown yet. The latter parts of the album tend towards more hypnotic psychedelia. It’s a difficult album, and not always fun, but it has some great, classic Tool songs and it expands the band repetoire even further, proving that Tool really ARE amazing and don’t lose momentum.

I guess we can nail Tool down to a specific genre now, can’t we?

Progressive psychedelic alternative grunge metal.



The White Stripes – Icky Thump

June 14, 2007


“What’s up?”

“Turn on the radio to XRT.”

“Okay. Why?”

“The new Jack is on!”

“Yeah, I’ve heard it. Do you like it?”

“He’s a damn genius. It has this crazy organ thing. It’s great.”

“I know. I can’t wait for the album to come out.”

I have concluded after careful consideration and honest observation that my mother loves Jack White more than she loves me. I still contend that White Blood Cells was the first album to truly get me interested in music, and since I acquired it so many years ago, I have worked my way through the discography treasuring most every moment. I have very fond memories of sitting in my room doing algebra homework, while my mother watched my stereo from the doorway with subtle wonder. Within a year or two, when I finally owned all of the albums, she would practically break down my door screaming “ITS JAAAACK” as if it was Beatlemania all over again. The fact that spellcheck does not find error in the word “Beatlemania” and does find error in the word “spellcheck” vaguely adds some backbone to the love my mother has for Jack White. She talks about him like he is the favorite child, a son who has gone off to college and, unlike the other children, calls back frequently and sends her beautiful bouquets of flowers on mothers day. Whenever we take a ride in the car, she demands that I bring a White Stripes album. And she constantly praises his genius. She only has to say the word “Jack” to encompass the careers of both The White Stripes and The Raconteurs. It is not as if she does not care about Meg, because we both realize she is necessary to the sound, but she simply has brought her love to that high of a level. He makes her laugh. It sounds like I am exaggerating. Sadly, I am not.

When we heard Get Behind Me Satan was on the production line, we freaked out about equally. I cut out a full page add from The Onion and put it on my wall, above my CD rack. It is still there. It is in obscured light. She called me on the phone and told me about the fantastic single, Blue Orchid. We were very excited. When we finally bough the album, we couldn’t be more indifferent. I was angry. For an album with so much hype, I was pissed that there were so few winning songs. She was more confused and hurt than anything. I remember playing the CD in the car, and when we got to My Doorbell, she simply told me, “I’m sorry, I can’t deal with Jack right now.” That was the breaking point. That is usually a statement that she saves for Axl Rose. That was a rough ride home. I could easily spend an entire review complaining about Get Behind Me Satan. I probably won’t.

Both of our woes were significantly healed by the release of Broken Boy Soldiers by The Raconteurs. We both enjoyed the depth that was given to Jack White’s songwriting, and the quality of the songs, but we realized it wasn’t as heavy as we would like. She sipped a thermos of black coffee in the car.

“This is good, but not Elephant good.”

The milk in my fridge expires on June 19th. On June 19th, the White Stripes’ new album, Icky Thump, will hit stores. I have heard the album. I have not downloaded the leak. I heard it played all the way through on my local alternative rock radio station, Q101. This was a musical experience like almost nothing else I have been through. I have also heard the whole thing legally on the internet, god forbid the only reason I have visited ever in the past five years. I refuse to download the leak mostly because listening to The White Stripes on my stereo as loud as I can and bobbing my head back and forth has been one of the few truly authentic listening experiences for me anymore. The White Stripes are a band whose albums I BUY. I’ll buy all their records, no matter their quality. I have entered cheap, dingy record stores and bought their obscure singles. It’s just something that I do. I cannot steal from The White Stripes, especially a damn good record like this.

One of the issues I had with Get Behind Me Satan was the wishywashy experimentation that they utilized. Marimbas and banjos sounded like a good idea. They weren’t, really. They simply were not used well. When I first heard Icky Thump on Q101, what struck me immediately were two songs in the middle, Prickly Thorn But Sweetly Worn and St. Andrew (This Battle Is In The Air). Both songs mesh together almost as one identity, and they heavily feature bagpipe solos. The former can be compared to Little Ghost off of GBMS, where the band tried a completely different genre. But Little Ghost was a mostly failed attempt at bluegrass while Prickly Thorn But Sweetly Worn is a completely successful European folk song of sorts. And St. Andrew is justification enough that the Stripes have ironed out all of their issues. It features Meg on vocals. Most people cringe at this thought due to the damage that was previously done by Passive Manipulation, but here, Meg recites some nice poetry in a warped voice while the bagpipe and drums rage in the background. This song is not unique, in that interesting instruments like organs pop up more than once on the album, but they don’t simply throw in weird ass effects or instruments for the sake of having them and there are plenty of songs that stick to the classic White Stripes agenda of drums, guitar, and vocals.

As far as a collective sound goes, Icky Thump is the bands heaviest album since their self-titled debut, which had the advantage of an extremely raw production. This album, on the other hand, still has a pretty slick production, but unlike it’s predecessor that doesn’t get in the way of the music. On the title track, Jack’s vocals sound very clear and crisp, and are in fact doubled, an effect that they have done really bad things with in the past. HOWEVER, the doubled vocals are wound very tightly and don’t get to be a problem at all. As for style, the signature blues swagger is picked up again, with great success. Jack goes to work with a soloing style on the bagpipes and organs that is very all over the place, and unspeakably heavy. Beyond that, all of these riffs are rock solid and none of them falter in the places where they might have the opportunity to, another weakness of GBMS. This is classic, vintage White Stripes. Bone Broke, the Spanish themed Conquest, and Little Cream Soda are all classic rockers that will go down in White Stripes history, no doubt.

Strong moments are not few. I can sincerely say that there are no weak songs on the album, but maybe it only seems that way to me because I am a really big White Stripes fan, but it should still mean something that even on the first listen I couldn’t recognize any bad songs beyond the fact that I still can’t. For such a solid album, it’s tough to pick favorites. But I’d have to go with Icky Thump, Prickly Thorn, Rag and Bone, Little Cream Soda, and Catch Hell Blues as personal highlights. But just because the album is at it’s best while doing really heavy blues riffing does not mean that is all it can do. The second and third songs are a little more reserved, at least in comparison to the rest of the album. You Don’t Know What Love is kind of reminds me of some of the pop that is on White Blood Cells. 300 M.P.H. Torrential Outpour Blues is a very mellow little acoustic tune that transforms into a heavy rocker. As far as vocals go, this is second only to Elephant. Especially great is Rag and Bone where Jack and Meg get silly. At points the lyrics sometimes even get dirty, and I have no problems saying this is most likely the sexiest White Stripes album to date as well.

The White Stripes are back with a vengeance. My milk expires in less than a week. All of the record stores in the area have either gone out of business or moved, so me and a carload of friends will give up the extra few dollars and pack it up for Best Buy. The experience of buying records is not like it once was. We can’t go home and spin a record while smoking doobies on the provided paper. But we will go home and crank the stereo all the way up. And I think that my mother will only stand in the doorway nodding her head along with us, and possibly telling us to “turn that shit up.”


The White Stripes – Walking with a Ghost [EP]

May 14, 2006

I’ll level here. I LOVE The White Stripes. And I know I shouldn’t. I usually appreciate the exact opposite kind of music, stuff with layers and details. But I can’t help getting wrapped up into the detroit duo’s minimalist style. I bought Elephant right when it came out a few years ago and I was blown away. I then got White Blood Cells, and I saw the bands knack for writing straight up pop. I also got The White Stripes and De Stijl and saw the bands talent for garage blues. I love their first four albums to death.

And then I picked up Get Behind Me Satan. This should have been the kind of thing I like, or so they tell me. It was supposed to be very different, feature a lot of marimbas, and cover a myriad of styles. I was excited. I still have that newspaper page from The Onion up on my wall. While not a lot of great music came out last year, it seemed like some kind of Angel at least gave me the three things I wanted. A new Foo Fighters album, a new Gorillaz album, and a new White Stripes album. There was a lot of anticipation.

I popped in the CD and it was dreadful. I still can’t get into it. It’s just BAD. Most of the material is under par, except maybe Blue Orchid, Little Ghost, and White Moon, and MAYBE As Ugly As I Seem and Red Rain. But the rest is utter crap, and you have no idea how hard it is for me to swallow that one of my favorite, uh, “bands” made an album that truly sucked. The production is bad too. The PRODUCTION IS BAD. ON A WHITE STRIPES ALBUM. I didn’t even think it was possible at first. Sometimes Jacks voice is played back a tiny bit and the effect is completely flubbed. There are a ton of little details that people will recognize that make this album a bore and a task to listen to. Beyond that, Jack has reached a songwriting low. I don’t even like one of the hit singles “My Doorbell” very much. And Jack could have saved that one with a simple “bout” instead of a quick annoying “about.” The Nurse is a joke. Red Rain is a perfectly good riff rocker ruined by Jacks vocals and that horrid production. It’s a bad album. It happens.

HOWEVER, someone I know snagged a copy of the Blue Orchid single before I actually got Satan. I was pleased. It can be argued that this single was weirder and more out there than the actual album. Blue Orchid is a great song. I’ll admit it. And I like the B-Sides too, even though I know they are kind of bad. I ignored the live version of You’ve Got Her In Your Pocket, because I knew that it would be bad. Looking back, I was right. It must have been hard enought to get that tune right back in the studio, and near impossible live. I saw the Walking with a Ghost EP in the store some months after the disappointment of Satan, and I decided to pick it up. I already had each of the bands albums and a single, so why not start a collection?

Bad idea. The EP features five tracks, four of which are live versions of songs on the bands previous albums. The new one is actually a cover of Tegan and Sarah’s Walking with a Ghost, which gives the EP it’s name. It’s not a very good song. The tune just kind of drones and looks for a place to go, a chorus perhaps, but it never finds this comfort. And the song seems to drift between several verses without any real resolution. I was kind of hoping for a really consistant pop tune with that one. Obviously I never got it. The live tracks are half and half. The Same Boy You’ve Always known is a good take, because it is almost completely acoustic. Same with the As Ugly As I Seem performance. It is extended, and the extra few minutes are interesting. But we also have a live version of The Denial Twist, which is a song I never really liked in the studio, so I don’t like it here either. And the version of Screwdriver makes it seem like Jack is at his bursting point. He almost tries to hush his own vocals, which is a bad idea when he could clearly just explode and the performance wouldn’t break apart. Meg also drifts into a session of Passive Manipulation, which I’m sure the audience was ecstatic about.

Not a good purchase, and I regret it. I’ve been bitten on the ass again here. I’m wondering if it’s going to happen again with Jacks new little side project The Raconteurs. The critics like them, but hell, they liked Get Behind Me Satan too and look how much that let me down. In this new experience, Jack has dropped Meg for a full fledged band to work with. But I know for a fact that Meg White was NOT the problem in Get Behind Me Satan, and only had a small flub in this EP. The majority of this bands problems come from the fact that Jack has reached a new low with his songwriting, and I’m hoping he can pull himself out of this little hole he has dug himself into.