I Love, and May Be a Little Bit Frightened By, St. Vincent

I haven’t totally wrapped my head around Annie Clark’s newest St. Vincent creation, Actor, yet, but I’m pretty sure it scares me a little bit.

Let me back track. I am a huge St. Vincent fan. Annie Clark is a genius as far as I’m concerned. I can’t get enough of Marry Me, and I will love Annie for all eternity for naming that album with a quote from Arrested Development - my absolute favorite tv show.  I’m waiting on pins and needles for her to come play in my town.

It took me a while to get around to Marry Me – I had heard the name ‘St. Vincent’ batted around on Pitchfork and other like minded music sites for a long time. I think I had downloaded ‘Paris Is Burning’ somewhere, sometime, but never took a listen to it, and left it to gather dust in the ignored depths of my hard drive.

About a month or so ago, I came across the music video for “Jesus Saves, I Spend”. I was drawn to the video because: a) the Irish Catholic guilt instilled in me thought the title sounded scandalous! So immediately, I had to hear the tune, and b) the pretty face in the video didn’t hurt. But I loved the tune. I’m a pop guy at heart, and the melodies were fantastic. The whole song was challenging and creative, while still being accessible, which is a feat very few can pull off. I needed to hear more.

“Jesus Saves, I Spend” – from Marry Me

Good ol’ YouTube – I found ‘Now, Now’, the opening track to Marry Me, after a simple ‘St. Vincent’ search. I went looking online first because, cheap as I am, I wanted to hear more of the album before I spent hard-earned (well, that might be a stretch) cash on the album. I couldn’t get enough of Annie’s vocal on the track. I love a good female singer-songwriter, but too often these days, they possess these wispy, barely-there vocals that, while romantic and sweet, have no power to them. But Annie was clearly different. She had real power and emotion behind her words. That was it. I was hooked. I made the trek to Borders, got Marry Me in my possession, and I haven’t looked back.

So now, I’m an established St. Vincent fan. And even though it was only about a month before that I had paid any attention to Annie Clark, Actor was shaping up to be a very anticipated release for me. And usually, when I’m really looking forward to a new album, I try to listen to as little of it as possible before I actually buy the record. I like the surprise of it all, the feeling of not knowing what the fuck you’re in for. So I steered clear of ‘The Neighbors’ and ‘The Strangers’ on, again, Pitchfork and like-minded sites, and ignored the ‘Actor Out of Work’ video when I came across it on YouTube.

“Actor Out of Work” – from Actor

I went to the local record store to pick up Actor. Only two copies. And I got one of them. Score. Now, like I said, I had no idea what this album sounded like; no idea what to expect. Marry Me is so creative, and intelligent, and heartbreaking, and beautiful, that the bar was set very, very high for Actor.

When I picked up the cd, however, I started to get little hints of what I was in for. The cover of the album, much like the cover of Marry Me, is stark with Annie’s face prominently plastered on it. Other than that little bit of familiarity, however, I was thrown for a loop. The packaging is all bright pastel colors – light orange, pink and blue. Very pretty. But the song titles sounded unexpectedly brutal when paired with the spring-like feel of the art – ‘The Strangers’, ‘Black Rainbow’, ‘Laughing With a Mouth of Blood’, ‘Marrow’ – gone is the fun and quirky ‘Jesus Saves, I Spend’ and ‘What Me Worry?’ of Marry Me. I found that contrast very unsettling, but at the same time very intriguing.

But I had no idea what I was in for. This album is decidely not for everyone – which I love, mind you; I’ll take anything that pushes the envelope to wash away the bad, downright gross vibes bands like Nickelback infect the world with; SUPER BONUS if it’s actually awesome, like St. Vincent. It’s a dense album, slightly avant-garde, and not as – I hate to say ‘catchy’ or ‘poppy’, since music snobs of the world have attributed negative connotations to the terms – ‘immediate’ (maybe? That works?) as, say, Marry Me’s ‘The Apocalypse Song’, or ‘All My Stars Aligned’. But that’s not there isn’t enough to love, because there’s PLENTY. I’m in LOVE with the record.

But it’s also a disarming record, somewhat disturbing. It’s not outright dark. Oftentimes, the songs are filled to the brim with really beautiful tunes and melodies. It’s what’s underneath those melodies, though, that’s a bit disarming. Whereas Marry Me was an album with moments of pure beauty – ‘All My Stars Aligned’? ‘Landmines’? I don’t need to say anything more – it’s the songs on Actor, in that same league, that are often the most disturbing.

‘The Bed’ has been especially taken note of in various reviews of the record. It’s a gorgeous sounding tune – layers of strings and orchestration that on the surface are devastatingly beautiful. But just take a look at the lyrics – there’s a lot more there than you might think, and might like there to be:

We’re sleeping underneath the bed

To scare the monsters out

With our dear Daddy’s Smith and Wesson

We gotta teach them all a lesson

Don’t move

Don’t scream

Or we will have to shoot

It’s that kind of back and forth that comes across most effectively throughout the album. ‘Black Rainbow’ begins innocently enough, as sweet as the second half of its title. But then the ‘Black’-ness rears its head as the song breaks down into a grating, industrial breakdown that does not let you go easily – it builds and builds and builds, beating you senselessly over the head, and then drops off abruptly into nothing. The song ends. No payoff.

It’s fucking BRILLIANT.

But it’s that kind of bi-polar back and forth, that tug of war between the light and the dark creeping underneath it, that I would imagine might turn some fair-weather fans, some newcomers, off. It’s a bit uncomfortable to listen to at times. It’s challenging, but the emotion, the beauty that is to be uncovered, makes the album well worth the endeavor.

I, personally, enjoy Marry Me more than Actor. But Marry Me is a genius, beautiful record – it’s a tough act to follow. And don’t get me wrong, I LOVE Actor. It’s just different. Like I said, it’s a dense record. I’ve got to let it sink in a little more.

But the good thing is, Actor is garnering a lot of good attention and press from the likes of Rolling Stone, the New York Times, you know, the Big Time. I wish Marry Me got that kind of press and coverage, but I’ll take whatever gets more people listening to one of my very favorite artists.

And I seriously want to watch Arrested Development with Annie Clark. Let’s make that happen.

I Was Just Walking On One Fine Wire, or, Guess What? COLBIE CAILLAT IS AWESOME.

I am no rocker. I don’t pretend to know a lot of things, but I am sure of this much.

I used to believe that I was. I listened to Aerosmith, man! 90% of the time, I was decked out in nothing but jeans and black t-shirts. The only black t-shirts I had were Creed and matchbox twenty tour shirts, but still. I was badass.

Don’t get me wrong. I still like to rock, and I occasionally still like to roll. But I’ve come to realize recently how my musical tastes are growing up. When I was younger (and not that I’m not young, I’m only in college) for every time I mentioned I listened to John Mayer, I had to throw in the fact that I was aware that Metallica was a band, and that they TOTALLY kicked ass.

But you know what? I’ve grown up, and I don’t care anymore. I’ve gotten past the point where I feel the need to hide the music I listen to that others might not deem “cool” or “hip” or “rockin’”. I do listen to hip, cool, rocking music. I do. I have a WHOLE Tom Waits album, and I just bought the Fireman’s Electric Arguments album. Aren’t I cultured.

I’ve come to recognize, though, that, moreso than being a fan of hip, indie, cool music, which I am, I’m first and foremost a POP fan. A fan of straight up POP music.

Yesterday, I fell back in love with one of my favorite favorite albums, I’m talking top 10 AT LEAST here, mad season by matchbox twenty. That’s a pop album. A gorgeously layered and produced pop album.

And right now? I’m currently loving Colbie Caillat’s Coco album. It is with this album that I found myself at very crucial, guilty pleasure, pop music fandom crossroads.

I was at Target the other day, and I ended up buying that Fireman album (which, by the way… the Fireman’s Electric Arguments at Target? Hoooooowwwwwwwww?), but I considered buying Coco. And, I’m really ashamed of this, I didn’t, because I was too worried about the CASHIER NOT THINKING I WAS COOL. At the time, I thought, “What’s this cashier going to think of this guy, walking up and buying this Colbie Caillat album? Next time, maybe…”.

But now that I’m listening to the album, and loving it, I honestly don’t know what was wrong with me. What does it matter what other people think about what I listen to? Why does it matter what other people think about me listening to Colbie Caillat? I could just tell them I listen to her because she’s hot, but that’s as lame as of an excuse as other guys telling the women in their lives that they read Playboy for the articles. (She is GORGEOUS, though.) I’m a guy who happens to really enjoy the music of Colbie Caillat.

I don’t know, maybe it’s some sort of stigma I had about being a guy listening to a girl with a guitar. It was immature of me to ever feel that way, and I so glad I’m past that now. All it comes down to though is the fact that she makes music that I like. That’s all that should matter. It’s all that does matter.

From here on out, I have no more guilty pleasures. I don’t mind people knowing that I absolutely love that song Elton John did with Leann Rimes for that Broadway musical. I like the music that I like. So there!

Thank you, Colbie Caillat, for making good music. I’ll make it back to Target, and I think I will buy your album. No, you know what? I’m going to buy the DELUXE version of the album. Yeah. That sounds good, both literally (as in, the album will sound good), and figuratively (as in, the idea of buying the deluxe edition of Coco sounds like a good idea to me).

Surfing With the Jealous, Desperate Grab For Cash

 

“I spent so long writing the song, thinking about it, loving it, nursing it, and then finally recording it and standing on stages the world over playing it — and then somebody comes along and plays the exact same song and calls it their own”

“I did everything I could to avoid a court case with this situation. But Coldplay didn’t want to talk about it. They just wanted this whole thing to go away. Maybe they figured this little guitar player guy will leave them alone after a while, I don’t know”

“I felt like a dagger went right through my heart. It hurt so much. The second I heard it, I knew it was [my own] If I Could Fly.”

                                                                                 – Joe Satriani

 

 

So Joe Satriani is suing Coldplay for copyright infringement. He says that “Viva la Vida” sounds an awful lot like “If I Could Fly”. And he’s seeking “any and all profits” the song has and will generate.

BULLSHIT.

FIRST OF ALL, Satriani makes it sound like the two sound exact. He directly said it! “…somebody comes along and plays the exact same song and calls it their own”. Well, let’s see about that.

The melodies are similar, but not enough that, at least I believe, would ever support the claim that Coldplay just ripped it from “If I Could Fly”. Yes, the two root chords are similar. But dear LORD, if every band sued every other band for using similar chord progression, there would be NO POPULAR MUSIC. EVERYONE uses similar chord progressions. It happens. What’s important are the melodies, lyrics, etc., that the songwriters and performers use to build on those bases. Coldplay just haven’t done that.

There’s nothing wrong with an artist trying to protect what is rightfully theirs. If no one did anything about plagarism in music, radio would be nothing but “Ice Ice Baby”/”Under Pressure”-esque ripoffs. It’s very important, obviously to the artist, but also to the listening public, to preserve the integrity of the music we listen to.

But how convenient! Joe filed suit the day after “Viva la Vida” is nominated for two of the biggest awards of the Grammys – Song of the Year, and Record of the Year.

So, Joe. Let me get this straight, okay? Viva la Vida or Death and All His Friends came out about seven months ago.  “Viva la Vida” has been a huge hit pretty much ever since. Pretty inescapable on radio, TV, etc. So you are suggesting, Joe Satriani, that you either:

a) hadn’t heard that song, one of the biggest hits in the country, all of those seven months

b) you had heard the song, and didn’t realize this rip-off you’re alleging until someone pointed it out to you, or

c) you knew they ripped you off, and just up and decided, again, after SEVEN MONTHS, that you couldn’t stand for this!

I’m sorry, but a), I just don’t believe. I mean, aside from being one of the biggest hits around, there was another copyright controversy, involving some band called “the Creaky Boards”, pretty much as soon as the song came out. YOU WOULD HAVE HEARD “VIVA LA VIDA”. If b) is true, then how blatanly could they have ripped you off, if you didn’t know! Or, if c) is the right way to go, WHY? Why wait, if it’s so

How about d), this is just you trying to capitalize on the success of the Biggest Band in the World with a desperate cash grab over a SOMEWHAT similar CHORD PROGRESSION. Because it’s not like your just trying to stop the song from being played on radio, or being distributed on future copies of Viva la Vida or Death and All His Friends, which might have been viewed as a legitimate attempt to protect the integrity of your song that was allegedly ripped-off. No. You want “any and all profits” from one of the biggest songs in the world, days after it’s nominated for the biggest music awards in the world.

I’m sorry, but it’s just sad. And using blurbs in magazine interviews, pitting you, the “little guitar player guy” against Big Bad Coldplay, explaining how much it hurt you, like it was just like a “dagger through your heart”, gets you NO SYMPATHY. If it hurt you so much, you should’ve dealt with it when the song FIRST became a hit. Not AFTER it’s already made millions of dollars.

If only for your integrity…

DROP THE SUIT, JOE SATRIANI.

The Case For Katy Perry

[The first of a number of imagined correspondences to people in the music industry that I have things to say to, whether they hear it or not.]

Dear Ms. Katy Perry,

I don’t hate your music. Yesterday, I was sure I did, but today, I do not hate your music.

I wouldn’t qualify myself as a fan, either. I can do without “I Kissed a Girl” and “Ur So Gay”. But up until the day before last, I was sure that within those two songs, I found out all I need to know about your sound, your lyricism, everything to do with your music. I’m very judgmental, I realize. Here, in a very short list, is What I Was Sure I Knew About Katy Perry:

1) Katy Perry is impossibly hot.

2) Katy Perry makes really trashy music.

And I stuck to those opinions. I was set. I didn’t need to ever listen to any more of One of the Boys. I read the reviews, I knew the lyrics and melody to “I Kissed a Girl” too well, from having it, plainly, beaten into my brain my radio andVH1.  I had had enough of you, Katy Perry.

But things change.

Now that it’s the holiday season, I’m all about all kinds of Christmas music. I’m always on the lookout for a new Christmas album. I recently picked up The Hotel Cafe Presents: Winter Songs. Quite a wonderful album. There’s a lot of other singer/songwriters on that album whose music I really enjoy – Sara Bareilles, Ingrid Michaelson, and Brandi Carlile, specficially. But perhaps the biggest surprise of the album, for me at least, was your very lovely take on “White Christmas”. Having only known the singles from your album, I was not prepared for such a jazzy tune out of you. I never realized what a great voice you have. Brownie points for you, for sure.

I was taking a bus to the mall this past Saturday. The driver had some hip, local pop station blaring. There’s only so much top 40 music that I can take in one sitting. So I started tuning out, instead of listening in, trying to gleam some entertainment value out of the music, at the very least finding a particular song so horrible/tacky and cleched/intellectually offensive that I’d find it hilarious (i.e., Britney Spears’ “Womanizer”, anything by Nickelback, anything by Hinder).

That was, until, your “Hot N’ Cold” popped its way through my idle consciousness.

And you know what? That song is catchy as fuck. Killer melodies, great chorus. That’s a great pop tune. 

So when I got back to my room, I listened to your album. Well, not all of it. The first couple of songs. And I was pleasantly surprised to find that there were other tracks that were in the same vein – catchy, fun pop songs. And I’m a sucker for those. You had me reeled in, Ms. Perry. Well, for a couple of songs, at least.

Here’s my trouble. Like I expected, when I got to “I Kissed a Girl”, I had to skip to the next song. And when I got to “Ur So Gay”, I turned the album off.

It just makes me wonder why you have to strive to make such, I don’t know, outrageous music? “Hot N’ Cold” proves that you can write just a simple, catchy pop tune. On top of that, I realize now that you’ve got an excellent voice. You can sing, you can write a hell of a pop song. So why write, perform, and record songs like “I Kissed a Girl” or “Ur So Gay”, which are such blatant attempts at being ‘edgy’ or ’sexy’?

I think “White Christmas” is my favorite song I’ve ever heard you sing. Now, I’m not saying that I’d prefer it if you stuck to real jazzy pop tunes. That’d be awesome… but that’s not what I’m specifically insinuating. What I mean, Ms. Perry, is that there’s nothing wrong with just good solid pop tunes. There’s no reason you have to be some Wild and Crazy! cross between Avril Lavigne and Madonna, singing tunes about, at least what the general public might believe are, taboo subjects, to get press, to get notoriety. You should just let your songwriting talents and your great voice get you attention and acclaim. Artists like your fellow singer-songwriters on the Hotel Cafe Winter Songs album have proved that it’s possible! Ingrid Michaelson, Colbie Caillat, Sara Bareilles, Nicole Atkins, and like minded artists just write great, beautiful pop music. No gimmicks. Just great music.

I’d just hate to see and hear you keep making such gimmick-y tunes, Ms. Perry, when I know that you can write a hell of a song, and can sing like nobody’s business. You can make some damn good pop music. If and when you make that album, I’ll be heading to Borders to pick it up the day it comes out. Until then, well, there’s a few good tunes I’m good with for now.

Concerned, but hopeful, and listening to “White Christmas” on repeat,

Sean

If You Have to Take Sides With the Animals, Won’t You Do It With One That Is Kind?

The very cute girl working the check-out desk at the library was not on my side this particular afternoon.

 

I wanted nothing more than to take this new issue of Rolling Stone out, and peruse it in the comfort of my own room. But no. That wasn’t happening today.

 

‘”Sorry, man. I don’t think you can take this out,” she said, “I don’t think it even has a barcode on it. Nope, sorry. Can’t check it out.”

 

Disappointment.

 

Well, I had to read what I could. Elvis Costello interviewing the cute Jonas Brother? Beyond belief. Nevermind AC/DC (gag) on the cover.  If the formerly Angry Young Man has something to say, you think I’m going to pass up on it? Damn straight, I’m going to read that article.

 

So I curled up (not really) in a very comfortable (not really) library chair, settling in for a fifteen minute speed-read through one of my favorite Rock Periodicals.  New Queen + Paul Rodgers album. Queen? Awesome. Paul Rodgers. Rockin’. Queen – Freddie Mercury + Paul Rodgers x 2008? Eww. No Ticketmaster charges on upcoming Eagles tour? Go Ticketmaster? No thank you, Eagles. Fuckin’ Eagles, man*.

 

Came across this article about Rachael Yamagata. Did I read it? Nah. I just happened to stop on the article because I recognized her name. I remembered she was on Jason Mraz’s second album. Mr. A-Z. Already not interested**. Then I took note of the name of her new album. Elephants… Teeth Sinking Into Heart. I’ve never been a fan of indie artists giving their albums hip, out of the ordinary, super-Pitchfork-y “cool” titles***. Let me judge how cool you are by the music. I turned the page, and didn’t think on Ms. Yamagata again.

 

Fast forward to two days ago. A new Borders opened up down the road from here. Excitement abounded!**** I worked my way up to the second floor, and located the racks of CDs in the corner of the room. Huzzah! It is here that I will spend 75% of next semester, and 75% of my money next semester.

 

And I browse like I do. I’m not interested in buying any particular album today. Just like to see what they’ve got.  But this Borders is different. Not as big a selection of CDs here. I work my way to the ‘Y’s much quicker than I would at the Borders in Metairie or back home in Milford, CT (my personal favorite Borders*****). Elephants… Teeth Sinking Into Heart is at the front of the rack. I know that album title. Rachael Yamagata. I know that name.  Ah. Two discs. Very cool. Gotta love a good double album. Double albums automatically shout, ‘Hey! This is important! There is too much good music here to contain on just one disc!’ My interest is piqueing. ‘Parental Advisory’? ‘Explicit Content’? I’ll own this album one day******.  But I walk out of the Borders empty handed, making my way back to my warm, now Christmas-lighted dorm room by streetcar.

 

 

I return, sugar cookie latte in hand, to my computer. Elephants… won’t let me go! And I haven’t even heard it! I download the album to my Ruckus player.  The album is split thematically in two.  Elephants and Teeth Sinking Into Heart. That explains the out-of-the-ordinary title. You crazy, Rachael Yamagata!

 

Elephants begins. “Elephants” is the first track. How appropriate. This is nice. Lovely voice. Quiet piano. And OH, the strings. I’m a sucker for strings.

 

And so it goes. “What If I Leave”. “Little Life”. “Sunday Afternoon” is EPIC. Nine minutes long. Didn’t notice. An instrumental. A duet with Ray LaMontagne! That’s automatically, by credit and personnel alone, a good song. Elephants is nothing but ballads. I like ballads. I like Elephants.

 

Teeth Sinking Into Heart begins. What is this electric guitar doing here? Yes I will be your Sidedish Friend, Rachael Yamagata. That sounds like something awesome. Like this album. “Accident” and “Faster”. Cold War Kids meets 007 theme in “Pause the Tragic Ending”. Yes! Profanity! I will expose my children to good music, but they will not hear the refrain of “Don’t” until they’re grown. Like, at least, five*******.

 

So, what do I think of it? Two thumbs up. Nine stars out of ten? A… minus?

 

It is throughly enthralling album. Not just a collection of songs, not just three singles and filler, but an enthralling album. We certainly don’t have enough of those floating around today. Elephants is a really beautiful listen, and with Teeth Sinking Into Heart, Rachael Yamagata kicks your ass harder in five songs than so-regarded ‘real rockers’ like Hinder and Buckcherry and Whatever the Fuck Guns n’ Roses Wannabes Are Hot Today wish they could with every new deluxe edition of their one big album (which they’ll replace with a new, more limited, more deluxe, super limited deluxe edition in a few weeks)********.

 

So why not ten out of ten? Why not an A plus? Well, there’s one caveat to the album – you’ve got to be in to listening to the album, the whole way through. Like I said, this is an album in the purest sense of the term. It’s meant to be listened to. There’s no half-assing this one. Now, don’t get me wrong. There’s nothing wrong with that. In fact, I love the album more because it’s complete in this sense. But if you’re looking, like a lot of consumers of music these days, for a CD with a couple of fun pop/rock songs to sing along to in the car, and a few other tunes for background fluff*********, this is not the album for you.

 

The sequencing can be a bit jarring, as well – one disc of slow moving ballads, and a separate disc of five PJ Harvey / Tom Waits rockers. But to combine the two wouldn’t really be right. Elephants is too beautiful. Teeth Sinking Into Heart is perfectly heavy. To sequence them together would take away from the power of each.

 

But other than that, the album is amazing, and I can’t recommend it highly enough. Here’s where you can get it (and I highly recommend that you do):

 

http://www.amazon.com/Elephants-Teeth-Sinking-Into-Heart-CD/dp/B001E1DJD4/ref=sr_1_2?ie=UTF8&s=music&qid=1228544257&sr=8-2

 

Thank you, Cute Library Girl, for forcing me into a Rolling Stone Speed Read.

———————————————————————————————————————-

*I’ve never seen that movie, although I’m told I should, so I really should’nt be allowed to quote it. But damn I hate the Eagles. Right on, Jeff Bridges.

**Nothing against Rachael Yamagata for being involved with that album. As you’ve come to read, I’ve now fallen in love with her music. I also happen to be a fan of Jason Mraz. But Mr. A-Z is easily his worst album. Negative connotations abound with that one right off the bat. I’m very judgmental.

***Uh, like This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That by Marnie Stern. C’mon. HOWEVER, EXCEPTION: I Am Not Afraid of You and Will Beat Your Ass by Yo La Tengo. That’s just awesome.

****Say what you will about corporate big box stores. Borders is the shit. And I don’t always feel like paying 20+ bucks for ONE CD at an independent record store. Plus, none of them are as entertaining as High Fidelity makes them out to be. Sorry to pop the balloon.

*****Hometown bias? Or hometown AWESOMENESS! To quote Barney from How I Met Your Mother, the Milford, CT is LEGENDARY.

******It’s a very 12 year old attitude, but I love Parental Advisory albums. I feel very grown up and adult and mature. My dad wouldn’t have let me listen to this album eight years ago!

*******”Like education, censorship should begin in the home. But unlike education, censorship should end in the home.”

********As you might suspect, this is a sore spot with me. First, I hate Hinder. How can anyone take them seriously? Please! Tell me how anyone takes them seriously. Also, I hate bands that release a new Super Limited Deluxe Edition of their album with new remixes, or live tracks, or a new DVD, or whatever, every time a song from the album gets even the smallest radio play. Such a clear cash grab. Not cool.

*********No knock on fun, car ride sing along music. I can rock out to “Don’t Stop Believing” with the best of them.

 

Alright, Still…

I think Peaches i incredibly overrated.

But The Teaches of Peaches may be the best album title ever.

The Dark of the Alley, the Break of the Day

Well, it’s been a while. Not that I haven’t wanted to write, but I feel very compelled to return to my keyboard tonight.

I’ve always liked Kings of Leon. The first time I was exposed to the music of the three Followill brothers and one Followill cousin was when they opened up for U2 at the Meadowlands in New Jersey, on May 17th, 2005. They were touring in support of their second album, Aha Shake Heartbreak, an album I’ve grown to truly love.

At the time, though, I was too freakin’ excited about U2 to sit up and pay attention! You want to know what I honestly, vividly remember about that set? For one, I found the tag to the song “Rememo” highly entertaining (“And the motherfucker’s goin’ to jail”). Also, I was a little irked that the drummer kept blowing bubbles with his gum while playing. This was a balls-out rock show! No place for bubblegum!*

But that was all I could recall. Being that U2 is my favorite band, I was too wrapped up in my live U2 surroundings (“Look at the elipse!”, “I’m going to be in the same room as U2!”, “What is this song? Don’t know it, but I know I like it. WhoooaaaaaOOOOOAAAAAoooooooaaaaaa…”**).

That’s really a shame. I grew to become a fan, albeit a casual one at best, of Kings of Leon. I familiarized myself with Aha Shake Heartbreak. I saw them live again in 2007, at the Voodoo Music Experience in New Orleans. I paid attention this time, I swear.***

So they’ve got this new record coming out, right? Only By the Night. I read this little blurb about it in Rolling Stone a few issues back, and they were praising it, how amazing it was. I was cautious. For one, I wasn’t too crazy about for Because of the Times, their previous,****, and the fact that they gave the new Jonas Brothers a four star review, and Tha Carter III a four and a half star review*****.

Maybe an hour and a half ago now, I saw that KOL put up the first single from Only By the Night on their MySpace. Cool.

Then I saw that the name of the song was “Sex on Fire”. Ehhh…

Then I clicked on the song. And listened. And fell in love.

I cannot explain to you how absolutely in love I am with this song right now. I have listened to literally nothing else but “Sex on Fire” for the past hour. It easily bests anything from Because of the Times, and may have jumped up to #1 on Sean’s Super Sexy Top Favorite Kings of Leon Songs Countdown.******

I also happen to think that the song features Caleb Folowill’s best vocals on record. Yes, it’s still a bit of a challenge to understand every word he sings. If you have to, though, forget the lyrics. Just listen to the melody.

There’s no reason that, based on “Sex on Fire”, Only By the Night won’t be one of the best albums of 2008. Check it out on their MySpace, please, and see if I’m not right.

*I have since grown up, and become less of an idiot, and have no problem with bubblegum bubble blowing at a rock show. In fact, I find it quirky. Quirky is good.

**”Wake Up” – Arcade Fire. What, you didn’t get that?

***Totally worth it, too. Awesome show.

****I will admit that I haven’t listened to the whole thing. I’m just very ADD when it comes to what I listen to. If it doesn’t immediately grab me, I might be prone to skip the whole thing. No, it’s not fair, I realize. Bad Kings of Leon fan!

*****Sorry, but, aside from “Dr. Carter”, I just don’t get the hype. At all.

******Because, 1) Like John Cusack in High Fidelity, I randomly and arbitraily make lists relating to music, life, or music and life; but unlike High Fidelity do not make said lists with Jack Black or any other members of the Kathleen Turner Overdrive, and 2) Because I like to keep it super sexy.

King of Grey

I love Will Hoge’s “Blackbird On a Lonely Wire”.

Listen to the album, or we’re not friends.

Seriously.

That is all.

WHY DON’T I HAVE MTVU?

If you read my blog regularly at all, you’ll know that I’m a very big fan of Dave Barnes. A very big fan. He’s one of my favorite artists.

Well, here’s some very cool news. Dave’s video for his song “Until You” is in the running on MTVU’s “The Freshman”. Basically, you vote for Dave, and his video gets into rotation. And as of this writing, “Until You’ is number one in votes! Let’s keep it up! So go vote! The link to vote, and the video, are below.

Also, if anyone happened to watch TRL today, you will have seen Dave’s video! I happened to be out at the time, so I didn’t get to see it. But I’m sure it was awesome, and I’ll be hoping some other like-minded Dave Barnes fan will post it on YouTube in good time.

VOTE VOTE VOTE!

http://www.mtvu.com/music/freshmen/

And here’s the video you’ll be voting for:

http://www.lulu.tv/?p=24388

You Can Feel It All Over

If there is one artist who’s music can truly change and effect a life for the better, I believe it’s Stevie Wonder.

I just got back from seeing Stevie at Jazz Fest. I can honestly say that I have never been to such a moving, soul-stirring show. Never have I been witness to a concert that was overflowing with such complete love and positivity.

You couldn’t ignore that love and positivity, either. Stevie gave all that love to the crowd, and we gave it right back. There were more than a few people who moved to tears by the music. I myself was on the verge of tearing up when he started the show with “Love’s In Need of Love Today”, one of the most beautiful songs ever written.

From being part of the crowd, I can tell you, with first hand knowledge, that there wasn’t one person who left the Fairgrounds, after Stevie’s set, without a smile on their face. There wasn’t one person in that giant sea of people that wasn’t completely moved.

I’m not going to go through all of the songs that Stevie played, you probably know most of them. But there’s one thing that I really want to get across.

If you have ever doubted the true, healing, emotional power of music, go see Stevie Wonder live. You’ll be a part of something truly magical and heaven-sent. It’s music at it’s most loving, most positive, and most powerful.

Thank you, Stevie Wonder.

————————————————————

Love’s In Need of Love Today

Too High

Visions

Raindrops Keep Falling On My Head

Living For the City

Hotter Than July

Ribbon In the Sky

Overjoyed

Golden Lady

Don’t You Worry ‘Bout a Thing

Jazz Song w/ Aisha

Giant Steps

Sir Duke

Signed, Sealed, Delievered

Boogie On Reggae Woman

I Wish

My Cherie Amour

Shelter In the Rain (w/ Irma Thomas)

Superstition (w/ Irma Thomas)