Philip Selway’s “Familial” (2010) – YES, NO, or MAYBE SO

Originally posted 2010-12-21 10:30:12. Republished by Blog Post Promoter

Philip Selway’s Familial (2010) – MAYBE

Familial (Philip Selway, 2010)

Familial (Philip Selway, 2010)

(August 30, 2010)

There is a great deal of potential in these ten hauntingly emotive debut tracks, but Selway simply doesn’t make good on the promise their beautiful sublety suggests.

Top Two Tracks:

“By Some Miracle” & “Falling”

Eric Clapton’s “Clapton” (2010) – Yes, No, or Maybe So

Originally posted 2010-11-16 11:00:07. Republished by Blog Post Promoter

Eric Clapton’s Clapton (2010) – NO

(September 27, 2010)

Clapton (Eric Clapton, 2010)

Clapton (Eric Clapton, 2010)


For the fogey-at-heart, Clapton is a trip down Memory Lane with a set of covers recorded on high quality modern doohickeys; for anyone searching for a creative pulse, turn your interests elsewhere — this is a Clapton who has yet to regain what was lost post-Reptile.

(And, for the record, I may dry heave if I read one more review praising the overplayed ho-hum predictability of  “Diamonds Made From Rain” and “Autumn Leaves.”)

(P.S. I considered simply writing: “Clapton: the brilliantly original title says it all,” but I wouldn’t want to be harsh.)

Top Two Tracks:

If I had to choose, “Everything Will Be Alright” & “Hard Time Blues”

Music Review: “Together Through Life” by Bob Dylan

Originally posted 2009-05-04 23:29:25. Republished by Blog Post Promoter

RATING:  3.5 / 5 stars

By Chris Moore:

For many avid music listeners, it feels as though Bob Dylan has indeed been together with us through life.

He started out simple in the sixties — just an acoustic guitar, harmonica, and his aged-before-its-time voice.  By the end of the decade, he had gone electric, gone back to acoustic, and gone to Nashville to aid in the popularization of country rock.

Before the seventies were out, he recorded covers, rediscovered rock, discovered female background singers, and found God.  The next two decades were hit and miss — although any true Dylan fan will tell you that even Knocked Out Loaded has its charms…

Since 1997, Dylan has released what many refer to as his comeback trilogy (Time Out of Mind, Love & Theft, and Modern Times), although he has cryptically referred to Love & Theft as the first in a trilogy.

Now, less than a year away from a new decade and one more than that from his 50th anniversary in the recording business, Dylan has released his most fun and accessible album in years.  “Together Through Life” may have the nostalgic sound and rusted, creaky voice that has been characteristic of Dylan’s recent work, but the subject matter and the tone of the songs is refreshingly light…

…for Dylan, that is.

Upon first glance, the title of the third track – “My Wife’s Home Town” – suggests a song of fond recollection about a spouse’s origins.  And yet that is not the case at all.  As Dylan repeats in the chorus, “I just want to say that hell is my wife’s home town…”

The song concludes with a chuckling sound from Dylan that is reminiscent of the gutteral laugh in Elvis Presley’s Christmas classic “Santa Claus is Back in Town.”  This song is a prime example of the alteration in tone on this most recent Dylan release.  As the cover would suggest, love is a recurring topic that is approached with directness and a sense of humor that wasn’t evident on Modern Times.

For many reasons, Modern Times is a technically superior album — lyrically, instrumentally, and in terms of overall progression.  That being said, Together Through Life is perhaps the most accessible of Dylan’s post-millenium recordings.  The songs are short — most are in the 3-4 minute range — and the album only gets better as you listen, track after track.

“Beyond Here Lies Nothin’,” the album starter, is a nice opening that lyrically toys with the listener, seeming at its face to be a song about a dedicated relationship.  Dylan sings, “As long as you stay with me, the whole world is my throne.”

“Beyond here lies nothin’,” he continues, “Nothin’ we can call our own.”

By the end of the song, you are left to wonder whether the narrator is staying in his relationship for love — the kind of love that reduces all outside elements to “nothin'” — or because there is simply nowhere else, nowhere better, to go.

The true highlights come during the second half of the album (side B, for those of you who purchased the vinyl edition).

“Jolene” fits firmly into my long list of favorite songs with a girl’s first name for a title — BnL’s “Maybe Katie,” the Beach Boys’ “Wendy,” and Fountains of Wayne’s “Hey Julie” to name a few.

Likewise, “Shake Shake Mama” is perhaps the most rockin’ number on the album, although it is a fairly standard blues progression.

Finally, “I Feel a Change Comin’ On” is the best song on the album.  Lyrically, instrumentally, and compositionally (a middle AND a solo!), this song has a catchy chorus and comes as a bit of a surprise as the ninth and penultimate track.

“Life is Hard” and “It’s All Good” act as bookends of sorts to the album as a whole, the former setting the theme early on and the latter bringing it all to a conclusion.  As is typical of the album, Dylan plants his tongue at least lightly in his cheek and turns a cliched phrase into the perfect chorus.

At the end of the day, Together Through Life will not be remembered as one of his best albums.  In a sense, though, it was never intended to be.  It came on quickly, surprising even me when its existence was announced a month before its release in Rolling Stone.  Apparently, Dylan hit upon inspiration after co-writing “Life is Hard” with Grateful Dead lyricist Robert Hunter for the Olivier Dahan film My Own Love Song.

Dylan’s spacing between album releases has been 4-5 years for as long as I can recall, and this one came a mere three years after its predecessor.

While the time between releases is a unexpectedly brief and the fact that he collaborated on all but one song (“This Dream of You”) is surprising, it was perhaps not a shock that Hunter is the collaborator.  After all, Dylan and the Dead have a longstanding relationship and mutual respect.  Truly, according to Dylan, his tour with the Dead in the eighties revitalized his passion for performing at a time when he was losing that particular spark.

Now, like an all-star pitcher who is starting on fewer days’ rest than usual, Dylan’s performance on Together Through Life may not be epic, but it is still amazing.

The Weekend Review: June 2011 Report

Originally posted 2011-12-29 20:40:55. Republished by Blog Post Promoter

By Chris Moore:

June was a quiet month, and I didn’t initially appreciate some of the great work that is represented below.  This is one of the only benefits to posting these reviews so belatedly this year: that my criticism has had months to percolate and develop.  I think that is revealed below…


Suck It And See (Arctic Monkeys)

Producer: James Ford

Released: June 6, 2011

Rating: 3.5 / 5 stars

Top Two Tracks: “She’s Thunderstorms” & “Piledriver Waltz”

With so many individually excellent songs – the opening electric barrage of “She’s Thunderstorms” and the gorgeously  Suck It And See should be an instant classic.  There’s something lacking, though: predominantly, a sense of momentum.  Individual songs achieve momentum relative to themselves, but there just isn’t a sense of ever-mounting energy as the tracks continue.  Still, the retro-rock/punk groove of tracks like “The Hellcat Spangled Shalalala” is undeniably catchy, and the Arctic Monkeys certainly haven’t lost their range, one which runs from the mean distortion of “Don’t Sit Down ‘Cause I’ve Moved Your Chair” to the placid ballad “Love is a Laserquest.”

Alpocalypse (“Weird Al” Yankovic)

Producer: “Weird Al” Yankovic

Released: June 21, 2011

Rating: 4 / 5 stars

Top Two Tracks: “CNR” & “Skipper Dan”

With Poodle Hat (2003) and Straight Outta Lynwood (2006), Weird Al raised the bar considerably, and it would seem to be a setup for failure to compare all future work by the watermark of discs like these.  Still, Alpocalypse rises to the occasion: there’s the dual-layered parody of “Born This Way” and Lady Gaga in the opener “Perform This Way,” style parodies of Weezer (“Skipper Dan”) and the White Stripes (“CNR”) that will stand up to his best work, and of course, a wittily titled polka medley (“Polka Face”).  Weird Al even manages to make the catchiness of that celebratory, patriotic Miley Cyrus tune accessible to the rest of us in “Party in the CIA.”  With Alpocalypse, Yankovic has also caught up on a few items that, in retrospect, I’m surprised haven’t fallen under his radar previously:  “Craigslist,” performed in perfect Doors/Jim Morrison fashion, and the appropriately faux-epic “Stop Forwarding that Crap to Me.”


Is For Karaoke EP (Relient K)

Released: June 28, 2011

Rating: 4 / 5 stars

Top Two Tracks: “Surf Wax America” (originally performed by Weezer) & “Baby” (originally performed by Justin Bieber)

While I usually cannot condone an album of covers, much less an EP, and especially from a band that has only recently put out some of the most mature and masterful original material of their career, Relient K’s Is For Karaoke EP is actually quite good.  In seven brief songs, they span the decades, from as recent as last year and stretching all the way back to April 1980 with an impressively spot-on take of Tom Petty and the Heartbreakers’ “Here Comes My Girl,” not forgetting the nineties in between, particularly with their not to Weezer in “Surf Wax America,” an excellent choice of band as well as song.  Frontman Matt Thiessen shows off his vocal range on Gnarls Barkley’s “Crazy,” and Relient K renders another annoying track listenable in their cover of Justin Bieber’s “Baby,” a resuscitation of a cover that can only be compared with Fountains of Wayne’s version of Britney Spear’s “Baby… One More Time.”  Overall, a masterful little EP, and not bad at all to tide us over until their follow-up to 2009’s outstanding Forget and Not Slow Down, my pick for number one album of that year.


Rave On Buddy Holly (Various Artists)

Producer: Randall Poster & Gelya Robb

Released: June 28, 2011

Rating: 3/5 stars

Top Two Tracks: “(You’re So Square) Baby, I Don’t Care” (Cee Lo Green) & “Changing All Those Changes” (Nick Lowe)

As with all tribute albums, the quality is uneven throughout.  And, buyer beware, there are some real clunkers here (Lou Reed’s distortion-drowned “Peggy Sue,” to name only one of several).  However, there are also some gems, and some hail from surprising corners.  Cee Lo Green’s take on “(You’re So Square) Baby, I Don’t Care” is easily the best track on the record, followed quickly by a plethora of pleasing yet unsurprising covers by an admittedly impressive array of artists, from Paul McCartney to Modest Mouse and Fiona Apple to the Black Keys.  There are too many strong tracks here to write Rave On Buddy Holly off, yet there are too many forgettable (at best) flunkers to offer up too much praise too easily.