“Christmas Morning” by Jim Fusco – FREE mp3 Download! – Day 14 of 14

By Jim Fusco:

And here it is- the end of the line.  I can’t believe we’re already through all 14 days of my Rock’n’Roll Christmas celebration!  Remind me to never do this again. :-)

Today’s song is my original Christmas tune, “Christmas Morning”, that I wrote back in high school!  I personally think every artist has ONE good Christmas song in them.  And, to be honest, I’m not exactly sure that I’d ever be able to come up with another one as catchy as this one, so I don’t think I’m going to try!

I recorded this song for the first time back in 2004 for our Christmas album, “Our Christmas Gift To You”.  At the time, I was just getting used to playing the guitar and recording with my digital 24-track.  I had basic microphones, too.  Now, I have a Cab Clone to record my guitars, various tube amps, high quality mics, compressors, preamps, and…the same 24 track mixer.  But, if you’ve heard both versions, you can really tell a big difference.  I’ll probably end-up recording this again in the future after my equipment gets even better!

My wife Becky helps me sing on this tune, too.  I was going to have my brother Mike help out, but he was sick when he came home for Thanksgiving, so he couldn’t sing on it.  Next time, though!

I hope you’ve had as much fun reading and listening to these Christmas songs as I have making them.  It’s a pretty big accomplishment for me to do all of this while being so busy otherwise.  I hope I can maybe just do one song a year from now on, just to keep me into the recording process.  Enjoy “Christmas Morning” and have a Merry Christmas!

Broken Bells’ “Broken Bells” (2010) – The Weekend Review

Originally posted 2010-04-04 21:21:23. Republished by Blog Post Promoter

By Chris Moore:

RATING:  4 / 5 stars

Having never heard a Shins album (or even as much as a thirty-second preview clip of a Shins song), I came to Broken Bells with no expectations or preconceived notions of how it should sound.  To be fair, that isn’t entirely accurate.  Seeing Danger Mouse’s name in the mix made me wonder just how experimental, or just how “far out,” this would be.  When my wondering gave way to actual listening, I found something I hadn’t expected.

Simply stated, Broken Bells is a beautiful collage of influences finely knit together with unique modern qualities that set this record distinctly apart from the jurisdiction of terms like “retro” or “derivative.”

Still, never in one album have I found such a wide range of interesting influences.  Here and there, a pinch at a time, I have perceived subtle flecks of styles from the Beach Boys to Elliott Smith to Weezer to Phantom Planet and back to the Bee Gees, or perhaps the Scissor Sisters.  As was the case with his collaboration with Beck on 2008’s Modern Guilt, Danger Mouse’s more synthetic sounds and beats are finely balanced out by the more conventional instrumentation and sensibilities of the Shins’ lead vocalist and guitarist James Mercer.  Between the two, Broken Bells is a celebration of many sounds that have come before, newly contextualized and altered here to create something new, something all their own.

This is also the rare record that only gets better as it stretches out.  Without question, the first two tracks are the standout efforts of the album.  That being said, the album does lag a bit after them, particularly after “Your Head is On Fire” fades out.  However, as the second half of the album kicks off with “Trap Doors,” it is only onward and upward from there.  By the time “The Mall & Misery” closes the album, it would be difficult to deny another go-round kicked off by lead single and opening track “The High Road.”

Broken Bells' self-titled debut (2010)

Broken Bells' self-titled debut (2010)

“The High Road” is an excellent choice for leading off the album, as well as representing it as a single.  Danger Mouse’s synthesized sounds somehow manage to appear random while obviously being the result of a very purposeful pattern.  Under all the layers lies a fairly straightforward piano ballad, a simplicity that is realized in the stripped-down outro.

From the piano and vocal fade follows the acoustic and vocal intro to “Vaporize,” another standout track on the album.  This is where Broken Bells start to lay out some of the themes that will follow in the songs to come.  As Mercer sings,  “Common fears start to multiply; we realize we’re paralyzed.”  He continues, “It’s not too late to feel a little more alive.”

What an excellent lyrical anchor for an album that is all about shaking up the format.

“Your Head is On Fire” is a particularly fascinating track.  It kicks off with instrumentation and a vocal arrangement that strongly conjures seventies Beach Boys (my favorite!), with a particularly heavy emphasis on sounds characteristic of Dennis Wilson’s solo effort Pacific Ocean Blue.  By the time the acoustic guitars strum in, the song proceeds to a second movement, but it does return for one more retro romp in the outro that would have felt right at home on SMiLE.

The following two tracks — “The Ghost Inside” and “Sailing to Nowhere” — carve out a clearer idea of what the Broken Bells sound is going to be.  Although they are strong tracks, they are the sort of fare you might expect in the half to three-quarters swampland of your typical record.

Instead, Broken Bells comes alive with new vitality in that region, kicking off with the steady beat and buildup of “Trap Doors,” followed closely by the multi-movement “Citizen.”  The latter peaks with an essential question: “From the moment that we’re born, ’til we’re old and tired out: Do we ever know?”

The opening piano riff of “October” may conjure Phantom Planet’s “California,” but it quickly progresses into the multi-vocal attack that Broken Bells have asserted as their own throughout this record.  And the pace isn’t lost on the low-register vocals of the next track, the beat-driven “Mongrel Heart.”

The aforementioned “Mongrel Heart” blends seamlessly into the album’s final stop.  “The Mall & Misery” is an exercise in perfect timing, another gorgeous mixture of beautiful acoustic guitars, lush harmonies, and a bed of beats and other synthesized sounds.  “Use your intuition; it’s all you’ve got,” Mercer declares.  Every lyric resource on the Internet seems to disagree with me, but I read the refrain as “I know what I know will not fill a thimble.”  I won’t even share what the misconception (?) is; I’m quite attached to what I’ve heard.  At the close of the stylistic odyssey that is Broken Bells, what a fitting final thought.

All in all, Broken Bells’ self-titled debut is a sharp, vivid album that presents a series of interesting lyrics and sounds mostly by way of tight but thoughtful little pop songs, the pieces which work together to form a greater whole.

And that’s more than enough to hook me.

Wilco’s “Yankee Hotel Foxtrot” (2002) – The Weekend Review

Originally posted 2009-12-27 23:57:53. Republished by Blog Post Promoter

** This is the fourth in a five part series of music reviews, counting down from the #5 to the #1 albums of the decade, 2000-2009. On January 2nd, 2010, the #1 album will be revealed, along with the complete Weekend Review picks for the Top Thirty Albums of the Decade. **

By Chris Moore:

RATING: 5/5 stars

There are those albums that are easily inserted into categories, labeled by genre.  Then, there are those albums which do not, those veritable square pegs hovering above round holes.

Yankee Hotel Foxtrot belongs to the latter.

Being that this is one of the most written-about albums of the decade, there have been just as many genre classifications as there have been reviewers.  Regardless of the fact that much of Wilco was formed from ex-Uncle Tupelo members, it is certainly not alt-country, although the trademark rough edges are present in all the right places.  It is not the country-tinged folk rock of Wilco’s debut release, A.M., although Tweedy’s leads sometimes attain that same wonderful raw quality that was so prominent on their first album.  It is not the acoustic rock of Being There, though the acoustic guitars are still quite prominent in the mixes.

Indeed, Summerteeth, their third album, can now be viewed as the proving grounds and a stepping stone to Yankee Hotel Foxtrot — in a sense, as the Today! to their Pet Sounds, the Highway 61 Revisited to their Blonde on Blonde.

It is the clarity of overall vision and focus, as well as the variety of sounds and styles on this record that makes Yankee Hotel Foxtrot one of the best rock albums of the decade.  In many ways, Wilco’s previous recordings were all leading up to this masterpiece, an album that yielded a slew of alternate takes, arrangements, outtakes, and additional mixes.  They poured all they knew about songwriting, performing, and recording into this album, and that is what is most apparent in the tight, finely crafted tunes, every bit as much as it is evident across the sprawling, chaotic landscapes of songs like the opening track.

It has become somewhat difficult to separate the music of Yankee Hotel Foxtrot from the controversy that surrounded it at the time of its release.  Certainly, when they set out to record their fourth studio album, they couldn’t have predicted the poor reception of the record label that would lead to them being dropped from their contract.  They couldn’t have envisioned breaking ground on the now-standard practice of streaming their album in full before its official release.  They couldn’t have known that the story around the album would sell so many copies and overnight transform their band’s image from a fairly obscure alt-country band to the folk/alternative rock trendsetters that they are known as today.  And yet, all the same, these things came to pass, filmed every step of the way by Sam Jones for the documentary I Am Trying to Break Your Heart: A Film About Wilco.

Moreso than ever, this is an album that now needs to be taken, at least initially, on its own merits.  Nine years after it was recorded and eight years after the controversy and hype have subsided, we are left with the task of locating Yankee Hotel Foxtrot among the greatest albums of the decade, and perhaps of all-time.

Thankfully, it has stood the test of time.

Wilco's "Yankee Hotel Foxtrot" (2002)

The Weekend Review's pick for the #2 album of the decade, 2000-2009, is Wilco's 2002 release, "Yankee Hotel Foxtrot."

Listening to this album is an entertaining, sobering, and all-around interesting experience from the fade in on track one to the fade out on track eleven.  “I Am Trying to Break Your Heart” is, of course, the flagship song of the record, establishing both the tone and the mood for the other ten tracks to come.  On the one hand, it is a song with such a simple chord progression and melody that it could be — and has been — easily translated to a solo acoustic performance.  Still, something is lost without, on the other hand, the reluctant bass lines, synthesized sounds, and haphazard yet steady drums.  The sum total of the instruments and vocals introduces a narrator who sounds decidedly detached, inviting us into a realm where we imagine and remember our saddest moments, the conflicts that have defined our romantic lives.

After the final burst of distortion, the second song, “Kamera,” wastes no time in laying out a much more polished folk-rock sound, describing uncertainty as to “which lies I have been hiding, and which echoes belong.”  Tweedy continues, “I’ve counted out days to see how far I’ve driven in the dark with echoes in my heart.”  It is a pretty song; it is a catchy song.  My only reservation here is lyrically — for instance, why spell the title with a “K” rather than a “C”?  As Robert Christgau seemed to point out in his own review of the album, any major concerns about the album’s quality will most likely be focused around the lyrical quality.  While I think he is, as per usual, deaf to the quality of this excellent album, I will admit that I vacillate as to the meaningfulness of some of the lyrics.

Overall, the album speaks to me, and yet, some of the songs may be found shaky on an individual inspection.

But this should be for you to decide as you listen.

“Radio Cure” is next, bringing the pace down to a crawl, expounding on the effects of distance on love.  It is followed by “War on War,” a protest song of sorts that seems to attack simple-mindedness with simplicity.  If nothing else, Tweedy cries the universal truth that, “You have to learn how to die if you wanna be alive…”  One can suppose that this is not necessarily meant as a commentary on physical violence, but moreso in the context of the romantic relationship in shambles that is described throughout the album.

In “Jesus Etc.” and “Ashes of American Flags,” the lyrics rely on allusions to Christianity and the American dream, respectively.  In the former, the singer attempts to reassure a Christ-like lover who is set on leaving, “last cigarettes” being all she can get before she sets about “turning your orbit around.”  The mournful quality of the latter is unsurpassed, particularly as Tweedy repeats the chorus: “All my lies are only wishes; I know I would die if I could come back new.”  Again, there is the Christian — or perhaps Buddhist — metaphor of a death leading to a rebirth.  We can assume that this relationship being referred to is dying or already dead, and the question, of course, remains: what will be reborn in its place?  The song ends with the singer “saluting” the ashes of American flags, “and all the fallen leaves filling up shopping bags.”

Anyone who has gone through a breakup after a meaningful relationship has undoubtedly undergone this phase of the healing process.

The seventh and eighth tracks sidestep a bit, the first — “Heavy Metal Drummer” — taking a nostalgic and upbeat flashback to memories of past summers filled with rock concerts and parties and the second — “I’m the Man Who Loves You” — coming across as a manic return to the present, the singer declaring, “If I could, you know I would just hold your hand and you’d understand: I’m the man who loves you!”

Subsequently, we learn that the singer’s declaration of love has not had the desired effect.  Indeed, “Pot Kettle Black” is an important transition point on the record as Tweedy sings of coming to terms with the realities of the relationship that exists between these two people.  Its abstract lyrics are no attempt to dodge specificity; rather, this is a great case study for how the mind perceives the breakdown of something so dear.

The final two tracks provide another excellent couplet in this eleven line album.  “Poor Places” establishes itself as an anthem for isolation, with the singer ultimately decreeing, “It’s hot in the poor places tonight; I’m not going outside.”  This is not an entirely unexpected turn of events.  After all, the album has covered a lot of melancholy ground, including what can arguably be construed as failed attempts at jump-starting a broken relationship.

When the final track arrives, it is somewhat of an enigma.  “Reservations” is one of the simplest, saddest, and most sincere love songs in the Wilco catalog.  The refrain, “I’ve got reservations about so many things, but not about you,” can be interpreted in several different ways — as a final attempt at reconciliation, as a statement after having reunited with the person (although there is less evidence for this), or perhaps most directly as parting words.  Judging from the ominous silence that follows, complete with sounds that can only be compared to a violent wind, the final interpretation seems the most likely.

From beginning to end, Yankee Hotel Foxtrot is one of those rare albums that connects on both mental and emotional levels, calling on the listener to think in order to deconstruct meaning from the songs and utilizing all the right sounds to convey all the right feelings.  This was the album that singlehandedly led me into a breakup, nursed me through the depression that followed, and brought me back to the love of my life. (“What was I thinking when I let go of you?…”)

As the disclaimers read in those lovely commercials about diet pills, my results may not be typical, but my life is better for having experienced this album.  I hope — and have faith — that this album will have even half the effect on you that it did on me.

“The Warmth of the Sun” (Beach Boys Cover)

Originally posted 2007-11-17 14:07:25. Republished by Blog Post Promoter

By Jim Fusco:

Here’s one plenty of people should know: the classic and beautiful “Warmth of the Sun” by the Beach Boys, written by Brian Wilson and Mike Love.  The story goes that both Brian and Mike were together the night that President John F. Kennedy passed away.  It must’ve been quite a night in America- I can only imagine it.  But, in songwriters’ darkest hours come some great material.  Most of the great songs you hear are a result of heartache- it’s usually due to losing a loved one.  But, Brian Wilson and Mike Love of the Beach Boys were creative in their songwriting and made their feellings for the passing of their President known in song.  Sure, they tailored it into a love-lost song (“The love of my life, she left me one day…”), but you can tell the sentiment in the song, especially considering the night they wrote it.

“The Warmth of the Sun” is a beautiful song in all ways- the chord changes are just great.  Brian Wilson always had a knack at creating chord progressions that were familiar, but had a great twist.  The bass line always moves in the opposite direction of where you expect it to go.  In addition to great music (and the instrumental track, which I’m pretty sure was played by the Beach Boys band members themselves), this song has AMAZING harmonies.  Brian Wilson’s voice simply soars in this song.  With the addition of the dead-on background vocals, you’ve got a pretty perfect song.  I’m just glad I found a way to put a solo acoustic performance together and record it with just an acoustic guitar for a cover song music video.

This video is fulfilling a request I received in my first week of doing the Laptop Sessions. I waited until now because I knew I had to get this one right. I had to practice the chords (not too easy, and this is my own interpretation- I didn’t even use a book), plus get the intricate tune correct. There’s so many subtleties to this tune and NO ONE was writing pop music like this in 1963. Talk about ahead of their time.

Please visit my website at http://jimfusco.com for more great music–original songs! One of the main ideas behind doing all of these cover songs for the Laptop Sessions is that if you like the style of music that I do live performances of, you’ll also love my original music, too!  I really think that’s true- my original songs aren’t just throwbacks or anything like that.  They’re unique songs that put a modern twist on my favorite influences, including The Beach Boys, the Byrds, the Beatles, and the Moody Blues.  I hope you enjoy tonight’s Beach Boys cover song and I hope you’ll stay tuned for more.  Make sure to follow me on Twitter @jimfuscomusic so you always know the latest on my songwriting endeavors, too!