Tag Archive for 'pop'



The Format - Dog Problems

The Format - Dog ProblemsThe challenge is trying to label this album as it is so many things at once. Dog Problems is a delightful pastiche of sounds and colors that evoke Queen, Joe Jackson, The Beatles, Tahiti 80, Crosby, Stills, and Nash, even a touch of Black Twig Pickers, and waves of Power Pop crunch. Listening is like having a crate of some of the best vinyl dumped on your head, it pulls from every direction but manages to weave together a series of songs that reflect a knack for tight compositions and even tighter playing.

The album opens quietly but quickly slips into “I’m Actual”, a breezy orchestral pop number replete with string flourishes and a swollen brass section where Nate Ruess slyly implores that “We take the next hour and talk about me”; fleshing out the track a lazy accordion riff playing off a clarinet lick that never fails to make me think of the The Quadratics. The track is a good example of the band’s compositional prowess as it is a dense arrangement that features shifting dynamics and voicings every couple of bars creating great swells of sound that roll and crash around the lead vocals.

“Time Bomb” is by far the most dynamic track on the album and my personal favorite. Opening with a blast of Freddie Mercury it soars into a sing-a-long (or shout-a-long, whichever works best for you) chorus that instantly has me acting a complete fool drawn in by the wiggling piano line and foot stomping hand clapping rhythm section. Many of the songs here do just that being driven by The Format’s blend of Chamber Pop and Power Pop with equal doses of tongue-in-cheek winks to the past–look for one to Counting Crows 1993 Mr. Jones, one of my least favorite songs ever but damn funny in this context. When they dip into more Pop territory such as “Oceans” or the anthemic ending to “If Work Permits” the band proves that they can strip things back and just layout hooks thus proving that the Atlantic is incredibly shortsighted.

Dog Problems is a captivating album and one that is easily vying for the top of my Best of 2006 list. You can listen to two tracks off the album over at MySpace or grab “Compromise” at their website. Whatever you do, sit up and take notice as this album shouldn’t be missed. You can snag it over at eMusic.

Murder Mystery

Murder MysteryFrom Amanda UnBoomed comes this tip off for her brother’s band, Murder Mystery, whose music is delightfully unassuming and unpretentious little nugget of guitar driven candy-coated pop. I found them to be a bit of a time warp that wraps together the sounds of the past several decades of music into a neat little package.

Some quick thoughts about the four free tracks on their website:

  1. Honey Come Home could be classified as jangle but the guitars are less bright being more focused on a low-key crunch.
  2. In A Sentimental Mood is a mid-tempo pop number that possesses a sheen of Northwest post-punk-Sixties-pop revival.
  3. Think of Me is a soft foot stomper that has a touch of country shuffle with its slightly twangy guitar lick.
  4. Who Doesn’t Want To Give Me Love? Glossed over with an early 80’s British Pop feel.

It is the sort of music perfect for whiling away the time on a lazy weekend or sing along to on a drive to the beach. Give it a shot.

Michael Franti & Spearhead - Yell Fire

Megan_Gentile01.jpgWhen popular mainstream artists such as Bruce, Dixie Chicks, Neil Young or even Charlie Daniels and Toby Keith bring political matters to the stage or God-forbid into their music, it usually creates an uproar amongst their fans. For some strange reason naysayers think that a musical artist’s political opinions should be separate from their art. Regardless, controversy is most likely created because it is unexpected by these artists who for the most part stray away from political material. Michael Franti is no stranger to letting his fans know his opinions, he has been creating music with an underlying political agenda since his first band the Beatnigs in late eighties then in the early nineties with The Disposable Heroes of Hiphoprisy. The roots of protest music can be traced back to blues and folk music from the thirties through the seventies, then punk and reggae from seventies forward. With a sound that some classify as hip-hop, Michael Franti manages to incorporate all of these said genres into his sound.

Not an extremely prolific career, releasing only five albums with Spearhead since forming the band in 1994, fans wait at least three years between albums. Thankfully, but most likely also a contributing factor to the lapse in time, he is constantly on tour. His last album with the band was 2003’s Everyone Deserves Music the album in which he matured with an expressive sweet-sounding voice and this release continues in the same vein. Upon returning from a tour of war-torn countries in the Middle East, which is documented in the newly released film “I Know I’m Not Alone”, Franti began recording Yell Fire partially in Kingston, Jamaica and back home in San Francisco. With Sly & Robbie helping out on the Kingston tracks the album sounds more like a reggae album than any of his previous releases such as Home and Chocolate Supa Highway with the later containing a track with Bob Marley’s son Stephen on lead vocals.

Kicking the album off with a beat straight from the Joe Strummer handbook, “Time to Go Home”, calls for the return of our soldiers. The song “Yell Fire”, with obvious inspiration by Gil Scott Heron’s “The Revolution Will Not Be Televised”, not only addresses the war in Iraq it also hits on our addiction to gasoline, tobacco, prescribed medicine and excessive commercialism. Franti has made it clear that he wants to start a revolution against wars but with “Hey Now Now” he’s also ready to fight to party all night. “Hello Bonjour” is a worldwide cry for peace layered with sappy lyrics and a repetitive chorus that sounds like a European cell phone commercial but after a couple listens I am hooked. “One Step Closer to You” one of the softer songs is coated with Jamaican roots and features Pink on background vocals; it cries out to be an instant classic.

The title of the album comes from the phrase, “Don’t shout fire in a crowded theater” an action that is not protected by the First Amendment. Franti isn’t calling for a hectic riot, he’s outside of that theater warning us not to go inside. His message may be peace but it is not a soft, flowery sixties approach; when it comes to pacifism Franti is tough. Not that this CD or any other will change the world, if just a few of us take this peaceful advice the world may be a better place. Surprisingly for someone who has seen war firsthand, Franti sings about such poignant subject matter in such a joyous voice, spreading good vibrations, while criticizing government and influencing people to get up and dance. At the same time this can also be considered the album’s major flaw since the message he brings can also be dismissed as background jargon. Like most reggae music this works great on hot summer day regardless of your political views. It’s like a watching CNN while your on vacation in the Bahamas. So whether your looking to relax sipping a cool island drink, running on the tread mill or marching in front of the Whitehouse Yell Fire will motivate you to do those things.

Freebies Yell Fire

Carey Ott - Lucid Dream

Carey Ott Back in early May of this year I went to my local Salvation Army to drop off a bunch of stuff that was cluttering my basement and garage. This particular Sals’ is not one of those “great find” thrift stores; I rarely find anything even remotely cool there. They have piles of old pre-recorded video tapes, hundreds of vinyl records that nobody wants and tons of Harlequin romance novels. This day I stumbled across a stack of what looked like brand new CDs. A $1.99 isn’t always cheap when the music isn’t good, so I always try to take my time to review them. Most of things I discovered had 2005 dates on them but an album by Carey Ott called Lucid Dream stood out. It was only five months into the year and there was a 2006 release sitting in a dirty CD bin. Recognizing Dualtone Records, the label it was on, the album looked somewhat promising so I bought that along with three other potential good finds.

After the first few notes of the lead off track, “Am I Just One,” I was immediately happy with my two dollar purchase and thought this guy is going to be big if he’s not already. I didn’t realize the song had been featured twice on ABC’s Grey’s Anatomy (not that I watch it anyway) but from doing some internet searches his name barely came up. I did find that he is originally from from Chicago and played in a local band called Torben Floor for a couple years, before taking his act solo and moving to Nashville.

The songs stream together with common themes of sleeping, dreaming, daylight and darkness. There is a sweet haziness that suggests the entire collection and not just the title track is about lucidity. Ott creates simple well thought-out crafty pop which recalls a sensibility of current solo acts such as Josh Rouse and Rufus Wainwright as well as a slight British-pop sound. His heavenly guitar chords which connect “Kicking Stones” have the ability to transport you into a child’s nursery while still maintaining a melancholy feeling that, like the title of the album suggests, seems like a dream-like state. The dream is not a constant one as the slumber is suddenly awakened by his bouncy vocals. From the lulling “Hard To Change” to the elevating “You Got Love” to the chorus of “I Wouldn’t Do That To You,” these are all great tunes which will work well for this summer’s soundtrack.

Right now eMusic (along with Dualtone) has a contest to promote the album and they’re giving away an acoustic guitar; I think you have to download the album and then you’re automatically entered. The album on eMusic contains two bonus tracks not on the CD and right now they’re still free, so that’s cool. “January” is just a little too dreamy than the album but “To Get Lost” is an uplifting, twangy alt-country song that is helluva lot of fun. The album’s official release is August 8th, but don’t look for this in a thrift store because you’re not gonna find it there like I did.

Jens Lekman helps me get in touch with my sensitive side.

This weekend I just discovered his music, nestled in the opening tracks of Pitchfork’s summer sampler, so please excuse lateness to the party. I hear a certain touch of Morrissey in Lekman’s occasionally overwrought lyrics and while I am no fan of Morrissey’s there is something about his expansive Sixties pop style arrangements that rub me the right way. Oh You’re So Silent Jens plays quietly as I type this and its hushed tones fit the quiet and sleepy mood I’m wrapped up in; arrangements are sparse but intimate, conveying a sense of warmth but remaining a notion of cheekiness.

Lekman has made available three EPs, totaling thirteen tracks, from his tours in 2004 and 2005 and they are definitely worth grabbing and giving a listen too if only to round out your collection. Over at music.download.com you can grab my favorite track of his Black Cab, a sweetened Sixties folk-rock number with flute like mellotron flourishes, a harpsichord melody, and a wonderful reverb dampened guitar like that sounds like it was lifted from vinyl pressed in ‘67. It is delightful and infectious enough that I have been driving my wife insane with my out-of-tune parroting of the songs chorus.

Now I just need to worry whether or not my hankering for more Lekman is a harbinger for a transition to adult contemporary programming in my life. I hope not. Just in case I’m going to have a Wolf & Cub chaser to keep me honest.





Bad Behavior has blocked 545 access attempts in the last 7 days.