Sickness Picks- 2005: Albums

Albums of 2005

I crossed genre’s here, but most of it is Americana, Pop, some sort of Songwriter, or all three. This list is a good representation of which albums from 2005 that I listened to the most, but it certainly is not “THE TEN BEST ALBUMS OF 2005.” In my next blog I’ll recommend some good stuff in the realms of jazz and country, list out some good singles, and of course touch on the stuff that doesn’t get mentioned here.

10. Tori Amos “The Beekeeper” (Epic) This is the first Tori album I ever listened to and I loved it. After some serious guidance from a Tori-expert, I realize it isn’t even her best work. This lady is truly a soulful reincarnation of Clara Schumann- a renaissance woman with enough class and crass in her artwork to make you overlook the fact that she’s completely bananas. “Sweet the Sting” has a nice Hammond groove but there’s nothing here that’s as profoundly strange and artistic as, say, “Blood Roses” from “Boys for Pele.” She’s like a fine bottle of wine; it takes you awhile to fall in love, but its worth it.

9. Amos Lee "Amos Lee" (Blue Note) This guy got a great deal on Blue Note, and he has Norah Jones on his album and Jesse Alexander to produce it, but these are merely industry side-notes compared to the reasons Amos was signed in the first place; his boyishly good looks with a voice that’s fragile but soulful. His songwriting is simplistic and catchy as hell. He knows how to cook up a two-line refrain that will haunt you quaintly for the rest of the day, especially on “Give it Up.” With enough touring he’ll sell a whole lot of these albums, but we have to wait and see if he can come back with another statement that vindicates the promise that this one shows.

8. Beck “Guero” (Columbia) A return to form of sorts, since everyone compares this album to “Odelay,” the last album Beck did with production credit to the Dust Bros. In my mind, “Scarecrow” is just as good of a song as “Where It’s At” but probably not as memorable. Just because Beck made it onto the OC soundtrack doesn’t make his stuff any less compelling. “Missing Pieces” sounds like a pre-Audioslave Chris Cornell B-side. “Girl” is kind of a timely song, in that I only want to hear it when it’s very sunny outside, but his groove lift on “E-Pro” is timeless and “Hell Yes” is probably my favorite song that sounds like a Gameboy.

7. The Greencards “Weather & Water” (Dualtone) This one is just a great listen; Mandolin, fiddle, bass and guitar with lots of vocal harmony and just as much instrumental expertise.

It’s actually two different albums in one. The instrumental stuff is as good as any other new grass, better than Nickel Creek some would say. Then there’s the Alison Krauss evoking pop-sheen of tracks like Jedd Hughes’ “Weather & Water” and the absolutely haunting “The Ghost of Who We Were."

Guitarist Brian Sutton is on point-as-usual. Anything he does, in the studio or live, is consistently incredible. There are some other good albums in this category (see Nickel Creek’s “Why Should the Fire Die,” and The Duhks debut CD, both on Sugarhill) but the Greencards are two Australians and a Brit that make Americana music as good or better than some of their peers, so its music that is warm and charming with a touch of shtick. Why not when it sounds good?

6. Sylvie Lewis “Tangos and Tantrums” (Cheap Lullaby) More of a mood album. You have to enjoy this one for the clever lyrics and appreciate her attention to detail in her song-forms. Here’s a line from her drinking song, “When I Drink”:
“You, like the moon, could drive a girl mad
You drove me to this place
And now they’re calling me a cab”

That is good on so many different levels.

This CD is more like a collection of great songs than a great album, because each one has its own atmosphere. It’s been said plenty of times, but the record really has a “French cabaret” feeling because she spent some time in Paris. Listen to “By Heart” if you’re looking for tear jerking pocket opus, or “My Rival” for a quirky story about a young girl and her smoking hot older social nemesis who is getting all the guys.

5. Common “Be” (G.O.O.D) I’ll be the first one to tell you I’m not a hip-hop expert. Everyone from the biggest lyrical nit-pickers to the average Nelly buyer knows more about urban music than I do, but I know a good record when I hear one. Granted, the things full of old soul samples that I probably should’ve heard before, but Kanye knows how to pick ‘em, and Common has such a distinct “flow” (if I may) delivering those intricate, self-conscious rhymes (I just did). I was all about 2002’s “Electric Circus,” too.

4. Billy Joe Shaver “The Real Deal” (Compadre) I put this next to Common because he and Billy Joe are two of the most spiritual writers today, and they exist on completely different sides of the world, musically. Shaver has the truest of all cowboy stories to tell, and it’ll sure break your heart (in the personal-gospel-blues of “Try & Try Again”) but he’s still got his sense of humor well in tact (“If the Trailer’s Rockin’”). Without his son Eddy (who died of a heroine OD) and his Hendrix-blues styling, Billy Joe’s records are a little less flaring instrumentally. Now Billy Joe’s voice is more triumphant than ever and some production work by Lloyd Maines keeps everything crispy.

When I talked to Billy Joe he was genuinely proud to have Big & Rich guest-star on the opening track, "Live Forever," but I’ve never heard them talk about it. The song (which even gives B&R production credit) is up there amongst the greatest of all time, and this is probably the definitive recording of it. It SHOULD be a radio-hit. . . That is if country radio weren’t obsessed with redneck glorification, alcohol abuse and capitalizing on war-time sentiments.

3. Feist “Let it Die” (Cherry Tree/Interscope ) This album probably got more “You gotta hear this” to friends than any other this year. It only takes three choice tracks to make someone agree to buy this, but it only takes 15 seconds for them to realize they love it. No two tracks sound the same, and it exists as its own genre, but I haven’t named it yet. There are plenty of incredibly talented female singers with albums just like this (Toni Price, Robinella, Esthero, Annie, hell, Kimberly Locke) but I’d put this up track for track with any of them.

Who knows how long it took her to write, arrange, produce and record this record, but all I can say is thank God she did. You can jump on an album for sounding “too good” or blame someone for overly producing, but it makes for an enchanting listen, time and time again while consistently making you want to jump up and down. Listen to “Gatekeeper,” “When I Was a Young Girl,” and “Inside & Out.” Or go for “Mushaboom,” and “Leisure Suit.” Then go for the album.

2. Aqualung “Strange & Beautiful” (Epic) I’d tell anyone about this album using the same phrase, “It’s got all the things I like about Radiohead and Coldplay, without the thing I don’t.” Matthew Hales sounds a lot like Thome York part of the time, and he can change vocal registers like Chris Martin the rest of it. There is some bombastic cymbals and heavy guitar crunching like the best stuff off of “The Bends,” and “Brighter Than Sunshine” is as good a song as “Yellow.” It’s Yorke’s painful cry with intelligible lyrics.

1. Chip Taylor & Carrie Rodriguez “Red Dog Tracks” (Back Porch) I’m going to name this record #1 because I definitely listened to it more than any other CD of 2005. It’s not one for everyone; it’s a twang-y roots record and both of their vocal deliveries aren’t exactly crispy and clean. But the way their voices sound together is the sweetest part. Chip is sixty something years old and wrote “Wild Thing.” He discovered the twenty something, fiddle playing Berklee graduate Rodriguez at South By Southwest a couple years ago.

Chip had since undergone a metamorphosis from professional gambler with alcohol problems to a spiritually awakened poet with some imaginative lyrics. “Red Dog Tracks,” their third record together, I think, really shows they’ve come into their own as a duo. Arthur Wood reviewed this record for FolkWax.com and he nailed it when he said these two belong amidst Tammy & George, Loretta & Conway, Emmylou & Gram.

The album itself, all 13 tracks, is great for multiple listens. You can dive into the lyrics (Try to figure out “Red Dog Tracks” would ya?) or bask in all the fantastic solos by this crack-team of studio musicians. Especially the solos of Bill Frisell; this guy knows how to paint a mellow glow with his guitars and he fits in nicely with the swamp sounds of “My Bucket’s got a Hole In It” and the front-porch loungin’ of “Private Thoughts,”which is also the best example of the weird sexuality these two’s voices present as one. They put a haunting mist on ol’ Hank’s “I Can’t Help It If I’m Still In Love With You” that’s still as sweetly chilling as when Hank did it on the Opry with Anita Carter.

December 15th, 2005

December 15th, 2005 will be a Thursday that I'll never forget.

Forgive me if I wax sentimental for a bit. It is the holidays after all, and I'll give myself a little credit for once.

"Joy to the World" is WV Public Broadcastings Christmas concert featuring the Mountain Stage house pianist Bob Thompson and his five piece jazz group. They take a seriously cool approach to Christmas music, spicing it up new-age jazz style. Now that's how you do Christmas music.

The first time I ever saw BT play would've been at my first Mountain Stage taping when I was a senior in high school. But it wasn't until I caught one of the television Mountain Stage episodes on PBS late one Saturday night that I really caught the emotion and capability behind Bob's playing. He did a solo piano interpretation of "You Don't Know Me," an Eddie Arnold country tune, re-popularized by Ray Charles on "Modern Sounds of Country & Western Music" in 1961. That was the first time Bob’s playing brought tears to my eyes. Little did I know that it would happen many, many times more.

For 13 years Bob has put on this annual Christmas concert, but it's the first year the television and radio broadcasts will be distributed nationally by Public Radio International (PRI) and around the world on the Voice of America (the United States way of propagandizing our ideals across the world).

I watched last year’s taping (featuring guest vocalist Susan Werner) on TV, but this year’s show was my first live show, and I was fortunate enough to be listed in the program under “Production Assistance” right after Michael Lipton, the MS guitarist who I admire a great deal for his pure, selfless genius. It was a real honor to be listed on the same line, and he of course made mention that “You’ll always come after me” when he signed my program.

Immediately after I changed into my suit jacket and tie, I walked down the hall, where in one of the next dressing rooms, the band and Michael Lipton were having their pre-show toast. I stopped long enough to say “Have a good show,” to the guys when Bob called me back “Hey Adam, man, do you care to partake?”

If you were a young film director, this would be like having Stephen Spielberg ask you if you wanted to watch ET with him, or if you were a metal band, and you got to record with John Custer.

So I timidly took my festive cup from Bob and said “Here’s to everybody?” out of sheer nervousness. “I guess for you,” Bob said, “It’s ‘Welcome’”

I feel like it’s taken me these last eight months to prove that I’m going to stick around, and hopefully they think I deserve to be around.

That toast was the first of three incredible moments for me that night. The second came when Bob came on stage to introduce his band, the host, and his guest vocalist before the taping started. He ran through the entire program credits and was generous enough to give Ritchie Collins, the monitor engineer, and Paul Flaherty, the production manager, and Linda McSparin, who has produced Joy to the World the last 8 seasons, a chance to come out and wave to the audience with a gracious applause. Imagine my surprise when Bob introduced me in between Paul and Linda. “And someone we’re welcoming for the first time tonight. . .”

Incredible. It’s not about getting any glory, but I got to step out, give Bob a salute and a quick wave to the audience. After the show some people recognized me and said “Thanks” and “Great Job” even though they had no idea if I’d even done anything. It’s great to see Paul, Ritchie and Linda get some credit because they are often overlooked in their pertinence and necessity to the show’s smoothness.

The after party was at Linda’s house and there was food and drink aplenty. It grew later and later. Hell, I didn’t even get to her house until after 11 p.m. By about 2:30 am the crowd had dwindled to Linda, her two daughters (both fantastic people), Ryan Kennedy (Bob’s Guitarist), his girlfriend Laurell (a fine singer, herself) Michael Lipton, Bob Thompson and myself, gathered around a table.

All of these people have known each other upwards of 20 years, so I got to hear tons of great stories. I was telling everyone how much I appreciated Linda letting me take off early last week to go see Medeski Martin & Wood. ‘How was it?” Ryan said after slapping me with what I assume was a surprised five.

“You know what?” Bob said to Linda, “This guy continually impresses me with his knowledge of music, man.”

I know my jaw dropped and I glanced at Linda and she raised her eyebrows at me, like “How about that?” because she knows how much I admire and respect Bob.

I hope I never come off as a “know-it-all.” I don’t try to impress anyone with how much I know about music. I’m more interested in sharing my passion and hopefully make a good recommendation, not bragging about what I know that you don’t. It feels good to have someone recognize the work and dedication I’ve put into listening though; especially when that someone is a brilliant piano player who’s recorded for Capitol records and knows more about jazz than I could ever hope to know.

So December 15th will always be a day I look back on as gratifying. I learned a lot too. Hopefully I’ll be around for next year’s show. At the party Bob signed my program- “Adam, You bring a great vibe to everything you do.”

I guess in the long run that’s all I could ever hope to do.

I’ve almost finished my top ten albums of 2005, and it’s looking really good. I’ve got to do some fact checking though, so I promise to post it next week. Check out these web-sites for some more on BT and the guest vocalist Mira Stanley. She seems like a hard worker and she was very gracious to everyone involved with the show. Some good friends of mine have a metal band, and the happen to be recording with John Custer, so check them out as well.

http://www.wvgazette.com/section/Beat/2005120742
www.colortones.com
www.myspace.com/outoforbit
www.johncuster.com

X-ing out the X-mas tunes

The holidays are upon us and that means a whole lot of things. Most annoyingly, it means Christmas music . . .

Most of you know I love music, in general. Songs mostly. This time of the year drives me bonkers because you can't turn on your radio or go to the grocery store without hearing the SAME 15 Christmas songs over and over and over.

I don't listen to the radio very much, except for when Mountain Stage is on, or maybe if Terry Gross is interviewing someone of interest on "Fresh Air," (I did catch her interview with Rick Rubin-He sounds as immensely intelligent as I thought he would) or if I'm in broadcast range of WVRU 89.9 fm in Radford. So I've avoided the Christmas music for the most part. Which makes me think; "If I HAD to listen to any Christmas music, what would I choose?"

They are all the standard, overplayed ones, but they are still great songs that I try to indulge myself with for about 29 days out of the year.

1. "Blue Christmas"-Elvis Presley. Only Elvis can do it and make you feel happy about being blue.

2. "Rockin' Around the Christmas Tree"-Brenda Lee. Every time I hear this I think of the Fraggle-Rock Christmas, but I have no idea why. 'Rock' association perhaps?

3. "Carol of the Bells"-Manheim Steamroller. Prog-rock Christmas music! Of all the Christmas songs that rock, this one rocks the hardest. I remember the first time I heard it I guessed that it was Metallica. THAT would ressurect their career!

4. "The Christmas Song"- Nat King Cole. I remember Hootie & The Blowfish doing this on Jay Leno, and it was good, but I think the spirit of Nat could crush Darius Rucker like a Chestnut, freshly roasted on an open-fire.

5. "Sleigh Bells"- Ella Fitzgerald. This one and the Elvis one I could probably listen to any time of the year. Unfortunately, I think three of my five Christmas songs are currently available on "Now That's What I Call Christmas," so I'm not sure what that says for my tastes.

This time of year offers an obvious, economicly driven surge of consumerism and people get cranky, I tell you. That's why I keep the radio off. If I hear "Rudolph" or "Jingle Bell Rock" or "Here Comes Santa Claus" or that awful Paul McCartney tune, I may develop a bit of road-rage insighted by overtly cheery Christmas sentiments by way of frequency modulation.

Records of the year may be posted next week, but can anyone tell me an official starting date? Does it have to be released between Jan-Dec 05? The record companies operate on fiscal years, then should I?
DS

Current Listening: "End of the World Party (Just in Case)-Medeski Martin & Wood