Top 50 Albums of 2013: Top 10
December 29, 2013 § Leave a comment
See you some day.
10. Justin Timberlake – The 20/20 Experience (Pt. 1)
(RCA) (March 18)
Spotify Link
The sudden turning on Justin Timberlake that came towards the end of the summer before Part 2 of “The 20/20 Experience” came out was pretty bizarre to me. I mean, he didn’t need to release that record, it’s about half the record this one is (if that), but I was seeing people who were initially praising this record as a new step in pop perfection go back on their word. Of course, as soon as this record came out, the reviews were pretty well split – go look at the AMG review or even the scores at Metacritic. It’s not a record for everyone, and it’s not really the record a lot of people want from Timberlake, one of America’s favorite celebrities (the guy who has supplanted Tom Hanks as THE best SNL host over the past many years.) But here’s what I get from this record: it’s grandiose and overly long, sure – but this isn’t necessarily a pop record in the same way that we should look at one. This is Justin attempting to shed his “the new Michael Jackson” image in favor of a “the new Prince” image. Obviously, he’s not Prince, no one ever will be – but the extended instrumentals and musical changes that almost every single song has here with Timbaland is terribly invigorating to me and really some of the freshest things that Timbo has put out in a long time. I had a friend that said something like “Timberlake discovered James Murphy” and I can surely see that as an influence in a track like “Let The Groove Get In” or other tracks where it’s about repetition. I don’t know, it’s a helluva record to me, and while I don’t know if I want to praise it as being a true artists’ record or a masterpiece, I think it’s totally ballsy and lives up to its ambitions for the most part. Forget the second record came out – that one looked backwards at his old stuff, this one looked forward to what he should be doing.
9. Classixx – Hanging Gardens
(Innovative Leisure) (May 14)
Spotify Link
Or, Pure Joy: The Album. The reason that “Hanging Gardens” has a bunch of super dedicated fans of people who actually took the time to listen to this record is because this record is just blissful. Whereas Disclosure really capitalized on years and years of UK and Detroit dance music, Classixx is a trip to the sunny beaches of California over and over. It’s like a more pop version of that tropical album that the Happy Mondays did, or essentially a mixture between an HD version of the Donkey Kong Country soundtrack and playing beach volleyball in non-neon clothing. It’s not done tongue-in-cheek like Junior Senior did it either (though Jeppe is on the record), but it really sounds like a natural, totally organic Los Angeles dance record and the moments leading up to the dance. The album was great for me, because I got into it right as I was starting my second consecutive summer in New England, and while summers over there in New Hampshire and Vermont and Maine are wonderful, they really don’t compete with the summers I spent as a kid in San Diego and Los Angeles or even as an adult in San Francisco and Humboldt. This record was able to tap into that nostalgia, no matter how much I was putting into it, and just allow me to really find a place of comfort and fun and smiles that most dance records aren’t able to capture. “All You’re Waiting For” is one of the catchiest and poppiest songs of the year, one of my absolute favorite tracks, you get a track like “Long Lost”, which is so dreamy and sounds like what the wood elves from Lord of the Rings would listen to if their woodland realm was in the Amazon and not a place akin to northern Europe. All I know is that everyone I know who checked this record out totally loved it, so don’t be one of those people who didn’t.
8. Iceage – You’re Nothing
(Matador) (Feb. 19)
Spotify Link
12 tracks, 28 minutes and with that – Iceage has put out what is probably my favorite punk album since well…shit, “Gutitar Romantic”? Yeah, punk isn’t a genre I pay a whole lot of attention to and while I dig most everything the RFTC crew puts out and was into that lo-fi movement that was hot in like 2007, this is easily my most listened to punk album that I can even remember. I had a serious addiction to this record that I was finally able to kick around July – and now that I’ve been working on this list, it has kicked back in, hard. What Iceage does better than most bands of their ilk is blend the interesting vocals and instrumentation of “post-punk” with a more hardcore aesthetic. The songs aren’t just BEAT THE SHIT OUT OF YOU type hardcore punk songs, there is an artiness to them, but they still do have that we-don’t-give-a-fuck, naivete about them that makes the tracks way more about playing loud and breaking shit than pondering “well, how’d they make THAT sound?” And the fact that this is a young, Danish band makes it even cooler because you have to imagine that they’re only going to get better with their third album. Just a killer record.
7. The World Is A Beautiful Place & I Am No Longer Afraid To Die – Whenever, If Ever
(Topshelf) (June 18)
Spotify Link
I feel like almost every year I’ve done this list there has been one record in “indie rock” record that reaches back to the late 90’s emo influence I used to obsess over and just blows me away. This year, a band with a horribly long and pretentious name put out that record. This record starts with a 2 minute instrumental that is just a drone track of cymbals, violins and guitar distortion and eventually a simple guitar chord that gets replayed throughout the album. It fades into “Heartbeat In A Brain” which starts off sounding like a Get Up Kids or Reggie & The Full Effect song, before the vocals come in, sounding like Modest Mouse. But once that picks up, the band really sounds like many countless emo bands I loved my sophomore year of high school that you could find interchangeable. The track slows down picks up, shows the influence of Brand New before closing out for a minute of instrumentals that sound like Explosions in The Sky. Yeah, this is a band I would’ve loved a lot in high school and as nostalgia seems to be the name of the game this year, this is the emo revival record that really blew me away. Track 3, “Fightboat” has horns and is an altogether, louder song, but still has enough off-kilter instrumental passages and warped vocals to make it almost more like a No Knife song than Taking Back Sunday or something. Play this record loud, put on your tight pants again and just remember how fun it was to have bands who really spoke FOR you. Also, I think it really a great rock record, nostalgia aside.
6. Jason Isbell – Southeastern
(Relativity/Southeastern) (June 11)
Spotify Link
If you have any sort of passing interest in Americana music past Mumford & Sons, I’m guessing you saw people talking about this album somewhere. Just about any media outlet that covers roots-type music over electronic and hip hop basically praised this as the best album of the year, if not one of the best singer/songwriter albums of our generation. And guess what – it’s both of those. It’s also the record that I’ve been waiting for from Isbell for 10 years now. Isbell was always my favorite 1/3 of the Drive-By Truckers when he was part of the band. And DBT happened to be the band I considered the best in the world. I was heartbroken when he left, to the point where I wore out the section of my cd where “Goddamn Lonely Love” was located (this is probably untrue). And then Isbell went solo and put out 3 mediocre albums. Three albums that had moments of absolute brilliance piled together with some Dave Matthews/John Mayer crap. It was like he was trying to crossover by being something he wasn’t. What’s funny is that “Southeastern” is the first record since his marriage and his being sober, and somehow it’s the most dour, minimalistic and emotional of his records. I mean, this is some Hank Williams -level country music. This is Townes Van Zandt without the insanity, a new Guy Clark. You name it. And here’s the thing: I didn’t even give this record it’s due this year, because I was bitter that Isbell was finally getting the press I felt like he should’ve been getting since like 2005 – and I wasn’t the first to break it. I tried to ignore this album for months for completely selfish reasons and eventually I succumbed and jesus, what a piece of work.
5. Chance The Rapper – Acid Rap
(Self-Released) (April 27)
Download Here
When all is said and done, “Acid Rap” is one of the few rap albums in history where the execution of the project actually lived up to the ambition. And it was free. And it was by a dude who was virtually unknown. Honestly, as a complete album, as a singular vision of something that is wholly unique and will spark a lot of copycats in the future, as a feel good story that had a huge impact in the independent music world, the hip hop world and just random places on television, print and the internet – Acid Rap is a classic. I’m talking “My Beautiful Dark Twisted Fantasy” and “Good Kid Maad City” classic. There is no other album like it, there is no one like Chance and there is no one operating on the path that he is operating successfully; grass-roots, anti-label, surrounded by a bunch of future superstar peers. Honestly, Kanye ruled the media, Beyonce ruled December, Justin Timberlake ruled the early part of the year, Taylor Swift, Robin Thicke & Pharrell, Daft Punk & Pharrell, Macklemore, Miley Cyrus, Drake, all of these pop stars had these huge years – but Chance The Rapper gets artist of the year from me. A stone-cold classic album from a visionary. And I feel like I’m only now giving the record it’s due – even though I’ve been listening for 7 months.
4. Kacey Musgraves – Same Trailer, Different Park
(Mercury Nashville) (March 19)
Spotify Link
You know, I knew this would be near the top of my list before the album even came out. “Merry Go Round” was one of my favorite singles of 2012 and one, in which I got completely wrapped up in the hype of – this young songwriter who was writing country music that was actually relevant. When a performance of her next single, “Follow Your Arrow” hit the web, I fell in love. When videos of Kacey going record shopping and talking about Ryan Adams were around, I fell harder. When she started to really gain popularity and was in every magazine and publication and looked like a more countrified Rashida Jones – man, she just has my heart like no one has since Nelly Furtado in 2004. I mean, I seriously love this woman. And beyond that, I love this album. It’s a country album, sure – some of it is really quite country, but it’s also a conventional singer/songwriter album, and much of it is super catchy pop music, not dissimilar from Taylor Swift or Michelle Branch or something similar. “My House” is a fun take on a trailer home that is totally country. “Dandelion” sounds like something that could rule adult contemporary radio and has a really interesting key change at the end of the chorus. “I Miss You” totally jacks Radiohead’s “Creep”. “Step Off” and “Blowin’ Smoke” are Miranda Lambert songs, “Follow Your Arrow” is an anthem. Lots of it is naive, but it’s also super courageous and super accomplished. Ashley was more country, Brandy had better songwriting, but as a complete package and as a totally unique pop star – Kacey is the clear winner.
3. Sam Amidon – Bright Sunny South
(Nonesuch) (May 13)
Spotify Link
Look, unless he completely changes his sound, any time Sam Amidon puts out a record – it’s going to score really high with me. He’s one of my very favorite musicians going right now, even with his fairly slim output. “All Is Well” was my #1 album of 2008 and is probably in my top 20 records of all time at this point. “I See The Sign” scored highly with me, but couldn’t live up to its predecessor. “Bright Sunny South” sees Amidon gone from Bedroom Community, linked up with Nonesuch, using a more jazzy approach, fresh off a marriage to one of the most creative female musicians out there (Beth Orton) and a father. It also finds him reconstructing the “Shape-Note” style of singing his folksinger parents used to do while growing up. He also covers Tim McGraw and Mariah Carey. It’s probably the prettiest record of the year, from a dude who has made a career out of making records whose beauty is hard to even fathom. His singing is alien in the same way that Jason Molina (RIP) was an alien. His arrangements are sparse, though this record adds horns to the mix occasionally. And all he is doing, still, is taking traditional, public domain songs. Songs that have existed for seemingly hundreds of years and rearranging them into modern, unique takes. It’s about my favorite thing in music, and I hope he never stops – he gives me chills.
2. Kanye West – Yeezus
(Roc-A-Fella) (June 18)
Spotify Link
Yeah, it’s surprising that it’s not #1 for me, also. At the same time, if you look at the Metacritic collated list of “best albums” lists from this year, “Yeezus” is far and away the winner for best album of the year – yet if you compare it with where it ranks as far as reviews go, it’s something in the low 20’s. And that’s a perfect way to approach this record. First of all, it’s one of the most divisive mainstream record I can think of since I’ve been paying attention to music. Second, I don’t know too many people who would consider it the “best” album of the year, but Third, I know a whole bunch of people who consider it their “favorite” record of the year. Because this record – it grows on you. That’s a weird thing to say for a Kanye album, especially one that is so abrasive and in your face as Yeezus, but it’s true. It is such a departure from what came before it, that initially it’s sort of hard to wrap your head around it. But then you keep listening, and you keep listening and it just worms it’s way in there to the point where the huge synth blasts and overly sampled Popcaan or hilariously bad lyrics just don’t even grate anymore and become totally essential. It’s not the best Kanye album, and as a full piece of work – I think “Acid Rap” is probably a better complete work, but the high points on this record, they haven’t been matched many times…ever. Kanye DOES operate on a whole other level, and it doesn’t always work. I don’t really like “Hold My Liquor” anymore, and I could probably do without “Send It Up” – but then I think musically, they are still really interesting songs. And they are surrounded by 8 of the best songs of the year. #2, #1, #25, it doesn’t really matter where I rank this album; regardless on how people feel about it now, it’s going to mark a huge turning point in hip hop trends going forward. Just like every Kanye album before this.
1. Sturgill Simpson – High Top Mountain
(High Top Mountain) (June 11)
Spotify Link
I knew the first time I heard it. I tried to disprove that feeling, but I knew. This is the country album I’ve been waiting for, likely the best country album of the 2000’s, and the record country music fans like me, need. I pre-ordered the LP, I got friends to do the same, I posted youtubes almost weekly on FB, I made sure to tune into his 2-song set at the Opry, I regretted not finding a way to see him live, I listened to the record dozens and dozens of times – and even though it is a modern-day Waylon Jennings album, just another record in the midst of a hundred “outlaw” records being put out every year, this is THE ONE. It’s easily my favorite record of the year, or at least the one that MEANT the most to me, the one I wanted to tell people about the most – and I can’t wait for Sturgill to blow up. He has a big following now, but it’s going to become cult-like. This is as perfect of a country record as has been crafted and the best album of 2013.
Maybe you’ll see me again. Doubtful. Have a good 2014.
Top 50 Albums of 2013: 11-20
December 28, 2013 § Leave a comment
We should get to it, no?
20. Disclosure – Settle
(Cherrytree/Universal) (June 11)
Spotify Link
There can’t be a whole lot that I can add about the most talked about electronic album of the year, that hasn’t already been said a million times. Look, it’s a good album. It’s an exciting album, because what Disclosure did with “Settle” is create a modern dance album that harkens back the last 20 years, really and combines all these different, very popular dance music styles and makes them really accessible and fun and because of that (and because of the hype machine, I suppose), they were able to crossover into the pop sphere (obviously way more overseas, but I had friends talking about them I would’ve never guessed would be too). A lot of their success comes from teaming with some huge up and coming British vocalists like AlunaGeorge, Sam Smith, Jessie Ware, Jamie Woon and London Grammar, which was the immediate draw for me (I mean, I LOVE Jessie Ware and Jamie Woon). But this album is a success because it’s just terribly fun. Some people more in the know can’t really understand why this is THE dance album of the year, and I’m not sure I do either, but I have a very strong memory of driving from New York to New Hampshire in June and listening to this record 2 times, really loud, windows down and it was just perfect. I’ve listened to it other times and it hasn’t stirred me, and then maybe even a day later it’s like the perfect record to me. Maybe it’s a mood piece, I don’t know, but played loud – it provided some of my best memories and auditory experiences of the year.
19. Ariana Grande – Yours Truly
(Universal) (Aug. 30)
Spotify Link
“Baby I” is my favorite Mariah Carey in many years. “Right There” samples one of my favorite r&b/hip-hop songs of the 90s (Lil’ Kim’s “Crush On You”), “Lovin’ It” samples “Real Love” and from there you can point back to the early 00’s and mid 90’s to every influence this record has. And that’s why it is fantastic. Also, because Ariana is a seriously great pop singer. But look, there were a handful of excellent pop records, including two that will appear later on this list that appear because of their spin on what pop music should be in 2013 – but “Yours Truly” is a celebration of the stuff that I loved growing up and didn’t realized until I was an adult. It’s a nostalgic record in the best way imaginable for its genre and a rare feat really. There’s a reason why very few of the 90s and early 2000’s r&b acts are around today – most of the sounds just don’t translate well. But Ariana, man. I love this record more and more every day. For me, “Your Truly” is this year’s “Kiss”, in that it is just perfectly written, tried and true pop carried out by a girl who isn’t going to be as big as Mariah or Beyonce or Madonna or Taylor Swift or Lady Gaga even, but is still just a talent that we better get on the ground floor loving. I’m sure you’ve heard a few of these songs on the radio – or maybe at the AMA’s, but I encourage y’all to check out the record if you haven’t, it’s about perfect.
18. Willis Earl Beal – Nobody Knows
(XL) (Sept. 10)
Spotify Link
No single album from this year was more arresting the first time I listened to it than “Nobody Knows”. I was in Oklahoma, I was relatively hung over (for me), and I was listening to this in the morning and it was more or less the first record I can remember since having crippling depression in college that basically didn’t allow me to get up from the bed I was on until it was over. And it’s an hour long. I mean, it really has this intense feeling about it, that with repeated listens has waned a bit, but regardless – I think it’s a terribly creative and alien-sounding record, probably the most “soulful” record I heard this year, and yet it’s not a top 10 record because of just how arresting and honestly, exhausting it can be. I’m a situational music guy, and this record isn’t really one I’ve allowed myself to just put on in the background or in the car, or listen to on headphones when working – it’s a sit down and listen record. Which I guess could be an argument to the power of it, but mostly it makes me tentative to listen to it. I realize I’m over thinking this whole thing and should probably just an enjoy the awesome record that it is, but man, nobody knows. I’m not going to tell you how it sounds, but it’s not of this era.
17. Valerie June – Pushin’ Against A Stone
(Sunday Best/Concord) (Aug. 13)
Spotify Link
I feel sort of bad when I describe this record as Erykah Badu does country-blues, because it’s really short-sighted, unfair and maybe a little bit racist, but ultimately – it’s a starting point for a record that doesn’t really sit well in any genre or sound like anything else. But honestly, Valerie June is a game changer in the music scene. She is part of the Nashville country scene but she is clearly not a country singer. She’s super soulful, but her music isn’t just blues either – it’s just this world of American music that exists and always has and always will. The thing that grates on me the most about this record is probably Dan Auerbach’s production, because occasionally some of the best songs get mired in the Black Keys echo vocals and fuzzy guitar sound, which stops June from TRULY sounding like something completely new. Like if you compare two of my favorite tracks “Somebody to Love” and “Wanna Be On Your Mind” – both have this ethereal beauty to them, but the production on the former allows it to be something that just doesn’t equate with current music. I listened to this record a whole lot early in the year when it leaked way before August, stopped listening for most of the summer and then bought it in the autumn when it for real came out and it’s been in rotation ever since. Really excited to see how this wonderful woman progresses.
16. Chris Schlarb – Psychic Temple II
(Asthmatic Kitty) (July 15)
Spotify Link
This album has a cover of one of my favorite lesser Beach Boys songs (“‘Til I Die”), an important Frank Zappa instrumental and one of my favorite pop songs ever: Joe Jackson’s “Steppin’ Out”. And between those 3 great pieces you get these intricate, organic arrangements that blur the line between ambient, dream pop, neo-classical and jazz. If it sounds pretentious on paper, it doesn’t on record, because the first time I heard this record this autumn, I felt compelled to play it the entire day. 8 times in a row. The last record that did that to me? “My Beautiful Dark Twisted Fantasy”. That’s irrelevant and my single-day obsession with this record certainly was only a single day, but I still find this to be a very excellent record. Mixes some Steely Dan with Joe Jackson, but also Sufjan Stevens, Bill Frisell, some modern jazz, it’s just great and terribly smooth, without actually SOUNDING “smooth”. It floats by, is mostly dreamy, but it doesn’t dawdle, even on the 10 minute “No Tsurai” which is the most experimental piece here. It is a fully composed album from start to finish and one of those records where when I listen to it, it makes me wish that I had studied and learned music at some point – because this is a type of record I would love to be a part of.
15. Brandy Clark – 12 Stories
(Smith Music) (Oct. 22)
Spotify Link
Spoiler Alert: this is not the last solo female country album that will be on this list. If you pay attention to the genre at all, you could probably guess what the other two are, and neither is Lindi Ortega. But anyway, this is an awesome musician to support, mainly because she’s great. Also, she’s an out lesbian who writes country hits, specifically for “strong” women singers, who have dominated what most country critics would deem the best stuff going over the past 5 years, but she’s also been behind some of the acceptance of talking about marijuana in country, NOT talking about trucks, and just blending traditional country with a modern sound. There’s no auto-tune in her song or hip hop beats, but there is some shit talking. Brandy’s album isn’t particularly “twangy” compared to even someone like Miranda Lambert or Leann Rimes, but it is through and through country. And it also is able to forgo the somewhat “white trash” aesthetic that some of these female country albums use as empowerment. It’s just a real musician and great songwriter breaking through, making waves and putting out great songs.
14. Jim Guthrie – Takes Time
(Static Clang) (May 14)
Bandcamp Link
“Takes Time” isn’t the first Jim Guthrie release since 2003’s breakthrough pop masterpiece “Now, More Than Ever”, but it is the first release that can be considered in the same breath. He’s done video game soundtrack work and collaborated with Nick from Islands and probably had his hand in some production, because he is a goddamn whiz kid, but this record is an example of what he does best: creates unbelievably catchy, dreamy pop music. Honestly, this is one of those timeless records that makes perfect sense coming out now in 2013 and sounding fresh, but it could’ve come out in 2007 or 1997 or probably 1987 and it would still have fans. It’s terribly fresh and well-crafted, one of those records where you have to turn it up to a pretty loud volume and just listen to all the LITTLE things that happen in each track. From harmonies to extra instrumentation in choruses and what not, Guthrie just knows how to construct songs that tickle everything I love about guitar-based pop music. His vocals always have that hushed echoey sound that people like Islands or The Shins or all of those mid-2000’s excellent indie-pop bands use (or Neil Halstead), and it just blends perfectly with the music. I don’t know if this type of music just isn’t exciting to people nowadays, but I hardly saw any talk about this record this year, except for the people who DID talk about it – and would claim it basically to be album of the year. It’s not, but as I said – it might be the most timeless record of the year.
13. Ashley Monroe – Like A Rose
(Warner Nashville) (March 5)
Spotify Link
You know Ashley Monroe as 1/3 of the Pistol Annies, but now you should know her as the country singer who is bound to put out a bunch of amazing albums. Because that’s what this debut is. It’s one of the best neo-traditional country albums of the past decade, which is probably what stopped it from truly crossing over the way that her peers are able to. This is some straight up Dolly Parton, Tammy Wynette amazingness. And the team that put the record together help out the cause, making sure that it has the feel of a classic country record, without just sounding like a tribute. Produced and worked on with Vince Gill (does he do ANYTHING wrong at this point?) and featuring co-writes from people like Shane McAnally (every modern country singer), Sally Barris (Lee Ann Womack) and Liz Rose (Taylor Swift) – everything sounds fresh and really focuses on amazing hooks and concepts – but it sounds like the best 70s or 90s country record you’ve ever heard. It’s got fiddles up front, it talks about weed and pregnancy and being poor and it’s the most COUNTRY record on the entire list.
12. Futurebirds – Baba Yaga
(Fat Possum) (April 15)
Spotify Link
My single best “musical moment” of the past year happened late last April, coming back from a fairly incredible date in Middlebury, Vermont. I love the middle of Vermont, it’s turning into my favorite place in the USA not along the northern coast of California, but beyond that – there was this time, where I was riding this high in my car as the sun was setting slowly and I was driving past farm lands and took a wrong turn somewhere and heading towards Lake Champlain and instead of being worried about going the wrong way, I just vibed out to everything that was happening, mainly because I was listening to “Baba Yaga” for the first time. It was a transcendent moment, one of those that will be remembered for a long time, if not forever. And this is the music that Futurebirds makes. The AMG review of this record calls it a “sort of alt-country answer to stoner rock” and in a way it is. It’s breezy and hazy, super pretty, but intense and really psychedelic. But this is clearly not an indie rock record, beneath it all, this is a Flying Burrito Brothers country rock record through and through. It became one of my favorite records to listen to this year in the kitchen and in general when I was stressing out – just because this is the type of record that really feels natural to my sensibilities, it’s comforting in the way that half of Yo La Tengo’s discography is. This kind of music needs to exist for people like me. That all said, I wish this record was like 15 minutes shorter and it would probably be an all-time classic for me.
11. Myron & E (with the Soul Investigators) – Broadway
(Stones Throw) (July 2)
Spotify Link
You almost can’t have a list of mine exist without some shout out to a retro soul sounding record and for most of the year, I figure it would be Adrian Younge’s collaboration with one of my favorite soul groups ever, The Delfonics – but then I discovered “Broadway” out on Stones Throw and immediately forgot that other soul music existed, period. This has a totally vintage sound, not like it’s copying anyone famous – because I can’t really point to anything, but I definitely heard the sound of some Northern Soul groups in this record. The Soul Investigators kill it on production, all vintage and with amazing breaks and Myron & E for their part don’t have powerful voices, it almost sounds like they can’t reach the ranges that are required for most soul singers, and that’s what makes this work better – because it makes the record more about the WHOLE sound than just them as vocalists. Any fan of hip hop, or Detroit or The Delfonics or anything like that should be checking this record out – it has become something I’ve obsessed over like 3 or 4 times since July.
Ohhhh What a RUSH! The Rush Discography Project: “A Show Of Hands” (1989)
September 19, 2013 § Leave a comment
After 4 albums you get a live album featuring music from those 4 albums. You know this, I won’t bore you.
The thing is though, that the Rush live albums seem to be the ones that I enjoy the most – they skimp on the songs that aren’t as good, typically, and the sheen that ruins a lot of their songs is mostly gone. It’s like being further away from the band makes it seem like they actually have some crunch to their instruments.
And don’t get me wrong, this has a ton of synth time, it has a really boring Neil Peart solo, but for the most part, the band chooses the best songs of this era for this collection, and it stays pretty enjoyable.
Kicking it off with “The Big Money”, “Subdivisions”, and “Marathon” is a great way to win me over, as those are 3 of my favorite songs from the era – but then PLOP right into the crap that is “Turn the Page”, “Manhattan Project” and “Mission”. The first one still sucks, I just hate that song, but MP sounds pretty cool here. I said before that the song itself SOUNDS rad, it’s a catchy number if you just ignore the lyrics entirely, which I’m choosing to do here, because they’re less audible – makes it enjoyable. And “Mission” almost wins me over, but not quite.
“Mystic Rhythms”, “Witch Hunt”, “Force Ten” and “Time Stand Still” come towards the end and those are all great tracks. Shame they have to still close with “Closer to the Heart”, but whatever, by this time it is just fun.
And that’s why their live albums work, because that’s what they are. The guys having a good time, playing big ol’ stadium shows. The recording is never great, but that works in their favor. If I were to get rid of all the Rush albums, I’d probably just keep the live ones to encapsulate their eras. They might just be better anyway.
Ohhhh What a RUSH! The Rush Discography Project: “Hold Your Fire” (1987)
September 18, 2013 § Leave a comment
Full disclosure: “Time Stand Still” is probably one of the most joyous Rush songs.
I’ve been wrestling with this review a lot over the past few months, really, because I sort of hate this album, but having “Time Stand Still” right there at track number 2 (almost ALWAYS the best track on any album), it has begun to make me rethink where this album stands in the Rush discography. Certainly the song is corny as anything the bad put out, but it is sort of everything that I love so much about Rush. It is just epic and silly and really GOES for it. But beyond that, it has this terribly catchy melody, and the chorus is wonderful how the music just drops out and then Aimee Mann, one of my favorite female vocalists of all time shows up and just kills it. Yeah yeah, I know it’s one of the worst music videos of all time, but I’ll always have a soft place for this song. Always.
And album opener “Force Ten”? Well, it’s half good and half bad. It’s no doubt one of the catchier and more ROCKING songs they did during this time period, but even with that being the case, the best part of the song for me is the brief synth solo about 2/3 through the track. It doesn’t really even fit the song, but it is just so amazingly awesome and bizarre that I can’t help but love it. It’s just a fist-pumping song. Rush hears Journey, says “no, we’ll do this our way, thank you!” and then out Journey’s Journey, without all the crying and sentimentality. So yeah, it’s a great 1-2 punch.
But then it’s followed by alternating mediocrity and “pretty good”. That all said, this album rocks a bit harder, or at least has an idea of what it wants to be as an album better than the last couple of albums. Yeah, it’s still super heavy on the synth, but Lifeson also has some interesting guitar moments here and a lot of that “delay” sound that was big in the mid-80s, letting the guitar echo as Geddy sings. It gives everything this shimmering quality, like we’re all visiting some super socially conscious crystal castle. “Open Secrets” and “Second Nature” are fairly basic late 80s synth-pop. Not entirely catchy, but decent enough tracks. “Prime Mover” kicks ass. It ratchets the sound up a bit, and is a total blast, but “Mission” does nothing for me and “Turn The Page” is clearly the worst song on the album. It’s not unforgivably bad like some tracks from recent albums, but it IS bad. Embarrassingly so.
And “Tai Shan”…I mean, you can’t take a song like this seriously either, but unlike some of the other tracks that you can’t take seriously, this one really FEELS serious. I mean:
I stood at the top of the mountain
And China sang to me
In the peaceful haze of harvest time
A song of eternity
Lovin’ that harvest time.
So look, it’s not a good album. But it’s seriously better than “Power Windows” and “Grace Under Pressure”, it sounds like the band almost got their act together. You could take or leave the album as a whole but there are about 4 songs here that you wanna keep around, because they’re pretty great. On to the next phase, Rush. Onto the next phase.
Ohhhh What a RUSH! The Rush Discography Project: “Power Windows” (1985)
July 22, 2013 § Leave a comment
The advantage of the intricate instrumentation and the really over the top synthesizer-based production is that it really distracts from some awful songwriting. Or at least lyrics. Now, that’s not saying a whole lot for Rush – who obviously I have lots of gripes with when it comes to lyrics, but you know – here’s what I’ve realized, I think. I like their ridiculous lyrics, I do. But I want them to just stay in the fantastical realm. I don’t need allegories, I don’t need metaphors, I don’t need politics and the philosophy of man and beast.
You listen to a song like “Manhattan Project” and you’re like “ok, yeah, this is pretty catchy”, but you delve into the lyrics are there is no way you can help but just shake your head. Obviously, it’s about the atomic bomb, but it’s so simplistic, and not just that – that could work, but it is just a summary of the actual building (yeah right) of the premier weapon of mass destruction. No metaphor, that’s good – but the whole “imagine” bit of the song, when all of these things actually happened, it’s just like…I don’t know, middle school poetry.
But then you follow it up with a song like “Marathon” which is probably all entirely metaphorical and is like basically the worst of the 1980’s pop-rock schlock, and yet it’s just entirely fun. It doesn’t seem like it takes itself that seriously, probably because of the hilarious sound effects and the really built-up, anthemic chorus. It’s the template of Journey and all the bands of their ilk – almost flashes of Iron Maiden as well. It could be about an actual race, it could be about Peart and his infamous and ever-present motorcycle journeys, it could be about life, I don’t even care. The song sounds like millions of magical crystals just smashing together into symphonic harmony and I love it so.
“Middletown Dreams” does absolutely nothing for me. Despite even more keyboard sounds that could probably be labeled as “crystal” or something else absurd, the song has no emotional value, no pop aesthetic, it just kind of sits there as a 1980s song that could potentially be considered hard rock or progressive rock or something else, it’s really one of the weaker songs I can recall in the Rush discography, precisely because there is just nothing to it.
And then we close with “Mystic Rhythms”, which alternates pretty consistently between amazing and awful. Pretty much any time a progressive rock band has the word “mystic” in a song, I’m going to like it – I’m a pretty big fan of that type of thing. But this is a simple song lyrically, but that word “mystic” man, makes it seem so much more important than it really is. Like it carries some weight. And the combination of “african” drums and more modern sounds – I mean this could be a Duran Duran song essentially (in production), but it never quite gets there. I can see why a lot of people like this song, why it was a single and I could definitely envision myself in 1985 really digging this track. As it is now, it’s one of the better tracks on this album, but still not quite as special as something like “Marathon” or even “The Big Money” – though it does remind me of waterfalls.
So is it an awful album? No, but it has a couple of awful songs and really no super great songs. It’s taken me awhile to get to this point of actually reviewing this album, and now that I finally have – I can’t say it was worth the wait of going through with it. It’s just well, mediocre. Another one of those in the Rush discography.
Ohhhh What a RUSH! The Rush Discography Project: “Grace Under Pressure” (1984)
May 24, 2013 § Leave a comment
If we thought Rush was ridiculous before – “Grace Under Pressure” turns it up to a whole other level.
The synths are louder and almost used more appropriately here (it is 1984), but they work in a way that actually highlights, rather than overhwhelms Alex Lifeson’s guitars. But man, these synthesizers are everywhere. Just take a listen to “Red Sector A”, a song that I am pretty sure is about internment camps or the holocaust or something similar to that, but it sounds like this hugely awesome, futuristic anthem with words like:
Sickness to insanity
Prayer to profanity
Days and weeks and months go by
Don’t feel the hunger
Too weak to cry
But you get this persistent, somewhat wonky guitar riff just totally beefed up with these “Final Countdown” synths. And yeah, that’s basically “Grace Under Pressure”. Oh, and there are a lot more “reggae” moments in this album. Which is the direction that Rush really should have gone with as time went forward, it’s like listening to UB40 again while being 9 years old.
Meanwhile, “The Body Electric” might actually be the worst song that Rush has written because it is hardly even a song. It’s fun and it’s the band trying to be all futuristic and science fiction based rather than so superficially political and fantasy based, but I mean c’mon – the chorus is “1-0-0-1-0-0-1” – and the verses are about “bytes” and “plastics” and the machines taking over and all that. It’s terrible, I mean really terrible – but at least it’s fun.
“Red Lenses” is an attempt at a clever song and the meaning of “red” or “read” or whatever else in as many ways as possible and is almost chance for the band sound like the Talking Heads. It’s also the worst song on the album and probably one of the worst songs in Rush’s catalogue up this point, but at least it gets LOUD. “Between the Wheels” sounds like Kane’s entrance music in the WWF but just not quite evil enough. Good song, but really really cheesy.
But that’s what this album is. It’s more pop-oriented than the last few albums, it doesn’t flow, the songs don’t seem as complete or quite as over thought as previous Rush albums, it’s just a collection of catchy songs that veer between awful and almost awesome, nothing ever truly breaking through. It’s silly, it’s fun, it’s the 1980’s, and while I enjoy the album on a whole – it’s not really something I need to hear that many more times in my life.
Ohhhh What a RUSH! The Rush Discography Project: “Signals” (1982)
May 20, 2013 § Leave a comment
Well hello 1982.
Right from the get go – you get a blast of synthesizers, synthesizers that never go away. You get a lack of guitars and you get songs that are just a bit more glossy than what you are used to with Rush – already a glossy band. But hey, at least “Subdivisions” is about the suburbs and alienation rather than wizards and labor unions, right?
And it’s a solid song, even if I’m waiting for Alex Lifeson to blow it open for it’s entire duration (and the duration of most of these songs), but they’re going for something new here. Do these songs lean more towards pop music? Not necessarily – they’re just…different? “The Analogy” is almost like a pre-cursor to pop-punk, but with this awful, near Contemporary Christian “you moooooovvvveee me, you moooove me” chorus. I don’t know, it’s an accomplished sound and for people who prefer the improved musicianship and the new wave sound more than the arena rock sound – it’s going to be awesome for them (see most Progressive Rock fans), but for me – it mostly leaves me well, feeling nothing.
I’m a pretty big fan of “Subdivisions” on the whole, it’s like the fanciest song about the horribleness of growing up in the suburbs – a topic that was all but reserved for punk rock up until this point. It’s different and not the usual style of rock music that I dig, but it’s fun enough and like most Rush albums – as an album opener, it’s one of the strongest tracks on the album. “Digital Man” I really love. It basically apes The Police entirely. The guitar tones are completely Alex Summers, the bass lines just reek of Sting and the “reggae” breakdowns, I mean – take your pick at which Police song you want it to be. I love The Police, so it works out – but Rush’s little obsession with reggae breaks in the early 80’s is awful and awesome – but it makes “Digital Man” memorable for me, something that most of the rest of these tracks are not.
And look – I don’t think the album is bad. I don’t think it is particularly good either, like some people. But, the style of music here, just isn’t really what sticks with me. I want things to ROCK, not to be smoother (weird, because I love Steely Dan), but this is Rush, people – I want the ridiculous! That’s the point, isn’t it?
What I’m saying is that this album is just different. Maybe my indifference to it (it’s not anger) is because it’s not the Rush that is the albums before this – but I don’t necessarily have the most favorable view of all those albums either. It’s leaner, the songs are shorter, the lyrics are more relatable and less fantastical, and that should all be a good thing. But it’s not, not for me at least. It’s just kind of…ok.
Ohhhh What a RUSH! The Rush Discography Project: “Exit…Stage Left” (1981)
May 19, 2013 § Leave a comment
If nothing else, “Exit…Stage Left” further cements my opinion that “Xanadu” is far and away the best Rush song. Oh and that for the most part, their big “hits” are justifiably their big “hits”, super die hard fans be damned. This live album demonstrates to me that Rush is not really a band about “deep cuts”, but about rocking the fuck out to anthems you know and love.
And that’s why this album and performance rule.
I don’t actually know how authentic of a live performance it is, what is added in after the concert, what is straight from the source, what is missing – surely all of those things have happened to make this release, because the fidelity is really quite good for a live performance in the 80’s, so whether this is a combination of real performance recording and studio trickery is likely – it doesn’t matter, because the songs? They hold up.
Apart from “Xanadu” and “The Trees” and “Spirit of the Radio” and “Tom Sawyer” which all sound awesome here (I’ll go ahead and say “Tom Sawyer” isn’t as good as the album version) – this performance get me excited about tracks I don’t really like either. You take something like “Jacob’s Ladder” – which on record is a track that just goes on too long and doesn’t really go onto anything, but here, it just seems amped up. The solos are more impressive, the playing is more passionate and the robotic feel is gone. It’s the same thing with the instrumentals “YYZ” and “La Villa Strangiato” – some of that studio stiffness is gone, though it’s replaced with some extra length, but it’s good. It just feels like a band at the prime of their career, playing the songs that people really want to hear and loving every minute of it.
And when “Closer to the Heart” starts – the people go buckwild, it’s hilarious that song is so big, and every time I hear this performance – I cringe. And I like the song, but it might actually be the low point of the album.
Another awesome surprise is the inclusion of “Beneath, Between & Behind” which is an earlier cut and really fucking rocks. It’s just like a transition from CTTH and JL but it amps up the energy for it’s 2 minute duration.
I don’t like putting “La Villa Strangiato” at the end and would have loved for “Natural Science” to be included (even if people don’t really give a shit about that song), but on the whole – this is my favorite Rush album from this period. It’s a greatest hits played live. Not much filler, some silly experimental effects and it has a solid fidelity. It’s the Rush that I want without all the bullshit.
And it’s great.