“Glide” (Stone Temple Pilots Cover)

Originally posted 2008-11-22 23:22:38. Republished by Blog Post Promoter

By Jeff Copperthite:

Yes!  It’s me again two nights in a row!  I have the privilege of bringing you another previously covered band (yeah I know, it seems like it’s new to cover a band we’ve already covered, but hey).  And not only that, another cover of a song you may not have heard before (just like yesterday).  I hope you enjoyed “Mourning Train”, because it’s just another impressive hit that I am happy to bring to you.

Well today here’s another song I have always liked from another favorite band Stone Temple Pilots.  Despite their rocky past and continually shaky future, they remain a favorite band of mine.  I enjoy their catalog from the beginning to end.  However, their later material has always shone much more to me.  This is because they geared more towards a “bluesy” and guitar-driven sound, rather than the reliance on power chords of the typical 90’s alternative bands.  This made them stand out much more to me.

Tonight’s song is “Glide” from their album “No. 4”. Glide is a very unique song in that the chords are all based on the same root for all the verses.  Despite the countless inversions and add 9s in the guitar part.  Like a song I have covered earlier in the year (“Spies” by Coldplay), it’s a unique guitar part but I am happy I pulled it off (mostly) on video.

I really tried my best to relax and belt this song out.  Combine the guitar part commentary mentioned above with a huge jump in notes and the use of falsetto, and you see I picked a doozy to cover.  I decided to be a bit more forgiving of myself in the mistake department, so you may spot a couple of misfingerings here and there.  To me it does not detract from the flow or the overall feel of the song in any way.

I recorded this song in the same session as the previous cover, and I had also attempted to record another song for a future session, but after this song I was just plum out of energy.  That’s ok – you’ll still see that cover on Tuesday!

Be sure to come back for our regularly scheduled Jim Fusco acoustic cover, and then Chris Moore will make your Monday a bit less manic.  For me, i’m just gonna “glide” on upstairs to beat my wife in a game of Gin Rummy!

Until then…

Editor’s Note: Unfortunately, Jeff’s acoustic cover song music videos are no longer on YouTube, but we decided to keep his cover song blog posts up.  We figured these music blog entries would be good for posterity’s sake and because Jeff always gave such insightful posts each Session.  We hope to see Jeff’s impressive catalog of acoustic rock songs here on the Laptop Sessions cover songs and original music blog again in the future.  But, for now, please make sure to check-out hundreds of other acoustic cover songs from all of your favorite bands here on the Laptop Sessions music blog!

“I Am A Building” (Wallflowers Cover)

Originally posted 2008-03-21 19:01:46. Republished by Blog Post Promoter

By Jeff Copperthite:

Good evening! Despite being down about my alumnus UConn losing to San Diego not too long ago, I am happy to bring you our latest Laptop Session. I hope today finds you enjoying your upcoming Easter weekend, and if you’re like me, glued to your TV set keeping up with the NCAA tournament.

Today I bring you another Wallflowers song, and my third session from their latest album “Rebel, Sweetheart”. It’s an extremely catchy track called “I Am A Building”. I always liked this song since I first heard it because of the catchy strumming pattern and drumbeat. Looking back on the writing of songs for my album, I think the strumming pattern from “Home” is inspired from this song.

It took me a few takes to get one I was happy with for this song. I actually had three versions, and the one I have selected is the most solid. This was take #17, and despite that, I still appear to be having fun with it!

Look for Jim’s next addition to our series tomorrow, and check back on Monday when I bring you a new addition to our series.

And as far as views are concerned, I expect to break 6,000 views tonight or tomorrow. Talk about an increase in viewership! Thank you so much to all loyal Laptopsessions.com visitors.

Editor’s Note: Unfortunately, Jeff’s acoustic cover song music videos are no longer on YouTube, but we decided to keep his cover song blog posts up.  We figured these music blog entries would be good for posterity’s sake and because Jeff always gave such insightful posts each Session.  We hope to see Jeff’s impressive catalog of acoustic rock songs here on the Laptop Sessions cover songs and origianal music blog again in the future.  But, for now, please make sure to check-out hundreds of other acoustic cover songs from all of your favorite bands here on the Laptop Sessions music blog!

The Weekend Review New Music Report: 2010 Edition

Originally posted 2011-01-17 10:00:06. Republished by Blog Post Promoter

By Chris Moore:

In the past, before the Weekend Review was officially a segment on the Laptop Sessions blog and my articles had the oh-so-clever title of “Music Review” — and I know, I know, “the Weekend Review” isn’t all that much more clever — I have been accused of writing reviews that were positive to a fault.

This may well be true, as I have found it challenging these past couple years to define and refine my voice as a music critic who is also a singer/songwriter.  After all, it has been difficult to find a comfortable middle ground between praising music simply because someone labored over it and pointing out flaws to bring others down a notch.

Being an “amateur” has allowed me the opportunity and relative privacy to hone my craft.

I’ve come a long way from the every-so-often, knee-jerk nature of my early “CD Reviews,” articles that I typed and saved on my computer long before the Fusco-Moore Productions blog — now known as the Laptop Sessions blog — was launched.  I’ve also come a significant way since the aforementioned “Music Reviews.”  And, I’d like to think that I’ve progressed as a writer over the past year of “Weekend Reviews.”

So, this being my fifty-second and final Weekend Review of 2010, I decided to dedicate it to laying out a table of contents of sorts for the fifty-four reviews I’ve written this year (including “Yes, No, Maybe So?” one-sentence reviews).  They’re arranged below in descending order from my one five-star rating down to my handful of one-star reviews.

What it all amounts to is a lot of music from a diverse range of artists that run the genre gamut.  The one common denominator here, the one solid link between all subjects of the Weekend Review, is the presence of the singer/songwriter.  With the exception of a couple of cover song albums, these are albums of original music released in 2010.

The best I can offer as an overall statement for the year’s music is that this was, overall, an excellent year for new music.  The range tended to follow the bell curve (1 five star, 14 four stars, 23 three stars, 13 two stars, and 3 one stars), but this should not undercut the fact that there were fourteen very strong, interesting, entertaining albums released this year.

In all fairness, what the year was lacking was any albums that really blew everything else out of the water.  Although several have argued this point with me, I do not hesitate a moment to give All in Good Time (BnL) the full five-star nod.  That being said, I do not consider it their best album, not by a long shot.

So, where does that leave us?

In my opinion, it leaves 2010 as a very strong year with at least fifteen strong reasons to buy new albums, but it also leaves a gap for those attuned to and awaiting the next, best classic albums for the ages.

I hope you’ll check back for my final post (at least for a while) on the blog tomorrow and that you’ll consider checking some of these albums out while they’re still available on the ever-increasingly trend- and contempo-centric CD shelves.

54 New Albums, 2010: Arranged in descending order of star ranking (out of 5).

All in Good Time (Barenaked Ladies) – 5 stars
Bad Books (Bad Books) – 4.5 stars
Be in Love (Locksley) – 4 stars
Broken Bells (Broken Bells) – 4 stars
Heaven is Whenever (The Hold Steady) – 4 stars
Kaleidoscope Heart (Sara Bareilles) – 4 stars
Lonely Avenue (Ben Folds & Nick Hornby) – 4 stars
Mines (Menomena) – 4 stars
Mojo (Tom Petty & the Heartbreakers) – 4 stars (4.5 w/o “Candy” & “Takin’ My Time”)
Night Work – (Scissor Sisters) – 4 stars
Sea of Cowards (The Dead Weather) – 4 stars
Suburba – House of Heroes – 4 stars
The Grand Theatre Volume One (Old 97’s) – 4 stars
The Suburbs (Arcade Fire) – 4 stars
Volume Two (She & Him) – 4 stars
A Postcard from California (Al Jardine) – 3.5 stars
A Singer Must Die (Steven Page with the Art of Time Ensemble) – 3.5 stars
American Slang (The Gaslight Anthem) – 3 stars
American VI: Ain’t No Grave (Johnny Cash) – 3 stars
As I Call You Down (Fistful of Mercy) – 3.5 stars
Brian Wilson Reimagines Gershwin (Brian Wilson) – 3.5 stars
Brothers (The Black Keys) – 3.5 stars
Dark Night of the Soul (Danger Mouse & Sparklehorse) – 3.5 stars
Death to False Metal (Weezer) – 3 stars
Destroyer of the Void – (Blitzen Trapper) – 3.5 stars
Easy Wonderful (Guster) – 3 stars
Everything Under the Sun (Jukebox the Ghost) – 3.5 stars
High Violet (The National) – 3.5 stars
How to Destroy Angels (How to Destroy Angels) – 3 stars
Hurley (Weezer) – 3.5 stars
Light You Up (Shawn Mullins) – 3 stars
Lo-Fi for the Dividing Nights (Broken Social Scene) – 3 stars
Page One (Steven Page) – 3.5 stars
Sigh No More (Mumford & Sons) – 3.5 stars
Something for the Rest of Us (Goo Goo Dolls) – 3.5 stars
Stone Temple Pilots (Stone Temple Pilots) – 3.5 stars
To The Sea (Jack Johnson) – 3 stars
Transference (Spoon) – 3.5 stars
Court Yard Hounds (Court Yard Hounds) – 2.5 stars
Crazy for You (Best Coast) – 2.5 stars
Eureka (Rooney) – 2 stars
Everything Comes and Goes (Michelle Branch) – 2 stars
Familial (Philip Selway) – 2.5 stars
Forgiveness Rock Record (Broken Social Scene) – 2 stars
Heligoland (Massive Attack) – 2 stars
Infinite Arms (Band of Horses) – 2 stars
National Ransom (Elvis Costello) – 2 stars
Realism (Magnetic Fields) – 2.5 stars
Women & Country (Jakob Dylan) – 2.5 stars
Write About Love (Belle & Sebastian) – 2.5 stars
Y Not (Ringo Starr) – 2.5 stars
100 Miles from Memphis (Sheryl Crow) – 1.5 stars
Clapton (Eric Clapton) – 1 star
Interpol (Interpol) – 1 star

CD Review: Bruce Springsteen’s “Devils and Dust”

Originally posted 2008-06-26 13:34:57. Republished by Blog Post Promoter

RATING:  2 / 5 stars

By Chris Moore:

I had read many reviews of this album long before I ever listened to it, and they were all good. They weren’t simply good reviews. Rather, Rolling Stone among others made this out to be the most incredible Springsteen album in years, if ever. Thus, my expectations were high when I bought Devils and Dust late one night and eagerly cranked it up for my half hour drive home.

The first track—the title track—is a nice start to a dark album, but I found myself disappointed quickly. Perhaps it was because I expected more upbeat songs, a la The Rising. Or perhaps it was because I was driving home with the windows open, cool breeze in my face, and I was having trouble hearing what Springsteen was singing. Whatever the reason, I quickly became disappointed with the release and told my friends why I thought it was overrated.

While I have not decided to declare this a veritable masterpiece that I initially overlooked, I must admit that my opinion of the album has softened with time. What helped to change my mind was viewing the DVD side of this DualDisc release. While the stripped-down nature of the studio recordings initially turned me off—and I usually have nothing against bare bones recordings—his live, solo acoustic performances allowed me to hear the songs for themselves, independent of my initial expectations. Springsteen appeared Dylan-esque, complete with acoustic guitar and harmonica rack. I loved “Devils and Dust” all the more here for its directness, for its simplicity. Suddenly, it was as though he was singing an old folk song—a well-written, dark yet catchy number. “Long Time Comin’” stood out to me again, having been one of my favorite album tracks.

There was something in Springsteen’s commentary in between songs that captured my interest and sparked my respect for the man. He seemed to be legitimately interested in writing minimalist songs as personal narratives both autobiographical and fictional. “Reno” is the perfect example of this captivating and revolting blend between the real and the conjured, the noble and the pitiful that he is able to weave together so well. In the best songs on this album, Springsteen exposes a subtle poetic sensibility that lends credibility and interest to his work. In subsequent listenings, I have found myself most taken in by these occasionally vivid and descriptive turns of phrase.

Still, I don’t quite understand some of the choices he made for the songs on this album. For instance, why did he sing the penultimate track, “All I’m Thinkin’ About,” in the odd, cracked voice manner that he did? Furthermore, why did he choose some of the subject matter that he did? What are the Matamoros Banks and would it make a difference if we knew? After all, I wonder why he would sing such a pretty song about a place that I have difficulty relating to, even after he has described it through his song. These are the moments — hearing him sing in unusual manners for no apparent reason and memorializing specific places that I have difficulty understanding the importance of — that I wonder what is so masterful about this album. It is a decent album, to be sure, and contains some good songs, but it is more of a return to roots than a step forward.

For all that I am impressed with the earthiness of the songs, the fervent attention to immortalizing the devils and the dust, I am still most in awe of a song like “Jesus Was An Only Son.” For its interesting depiction of an oft-discussed historical figure/son of God/son of man, for its flowing tune, and for its haunting organ riffing in the background, I wonder what the album would have been like if as much attention had been paid to the other tracks.

While its slow, gritty ballads pay homage to its namesake, I can’t help but note that if the album had been comprised of “Devils and Dust”’s and “Jesus Was An Only Son”’s, I may have called it masterful.

2005