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Bowling for Soup’s “My Wena”

July 13th, 2009

As I mentioned recently, I was fortunate enough to be able to meet Erik and Jaret of the band Bowling for Soup. One of the songs they sang that evening came from their new album. Jaret said that parents shouldn’t let their children see the video produced for that song, because it took his sweet little love song “My Wena” and turned it into something disgusting and perverted. When you read the lyrics for that song below, I’m sure you’ll wonder how hard the record company had to work to get something disgusting out of it…

“My Wena”
by Bowling for Soup

Her name is Wena.
Hey, have you seen-a?
Everyone says she’s amazing.
She gets so jealous,
She sticks her head up
When I’m checkin’ out the ladies.
And she needs so much attention
She’s always hangin’ around.

My Wena is lonely tonight.
[My Wena]
She cries when I turn out the light
[My Wena]
She’s only happy when I’m holdin’ her tight
Oh, My Wena.
Take a look at my Wena.

My little Wena,
Queen of the scene
And all the girls wanna be around her
Her skin is so soft,
I can’t keep my hands off
Ever since the day I found her.
And she’ll make your heart beat faster
With the wink of an eye.

My Wena is lonely tonight.
[My Wena]
She cries when I turn out the light
[My Wena]
She’s only happy when I’m holdin’ her tight
Oh, My Wena.
Have you seen my Wena?
Get a load o’ my…

Sometimes she can’t sleep at night
And I wake up and she’s just a-lookin’ at me
And she snuggles up tight when it’s cold outside
She likes to show off when we’re walkin’ the beach
And she’s always up for goin’ extra innings
She’s a sucker for a happy ending.
And we may not always agree,
But she’s always here with me.

My Wena is lonely tonight.
She cries when I turn out the light
She’s only happy when I’m holdin’ her tight
My Wena.
[Take a look at my Wena.]

My Wena is lonely tonight.
[My wonderful Wena.]
She cries when I turn out the light
[She wants to get between ya.]
She’s only happy when I’m holdin’ her tight
Oh, My Wena.
My wonderful Wena.

Here’s a video of Bowling for Soup playing the song live at the Garage Bar in Columbus on July 8, 2009.

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I Met Erik and Jaret of Bowling for Soup!

July 7th, 2009

I’ve been a fan of the band Bowling for Soup since the first time I heard the song “1985″. As someone who was a teenager during the 1980s, it’s easy to identify with many of the things it mentions, to say nothing of getting older. “My Hometown” reminds me of my own hometown in southern Ohio, even though it’s written about the band’s hometown in Texas. Many of their songs, like “Almost”, aren’t just about familiar themes but are also just good fun to listen to. They are, without a doubt, one of my favorite bands.

Local radio station WNCI 97.9 has been featuring Bowling for Soup this week. Today, the guys joked(?) that WNCI had forgotten to budget for their meals and they were going to have to start eating with their fans. This ended up becoming an informal call-in contest where listeners offered to provide the band with dinner that night. The wife of someone at my office won that contest. Her husband asked one of his co-workers (a friend of mine) if he was familiar with Bowling for Soup. My friend was invited to the party and told he could bring a couple of friends with him. Knowing I was a big fan, he was kind enough to invite me. I jumped at the chance. I’d wanted to see Bowling for Soup play live for a long time, and it was amazing to think I’d be seeing them in such an informal setting.

Around 7:15, I arrived at the house. On the door was a sign indicating that Bowling for Soup was here, so I knew I was at the right place. Inside I caught up with the friend who had invited me, as well as the co-worker whose home it was. My friend and I spent quite a while chatting with bass player and vocalist Erik Chandler. He talked about the rigors of being on the road, missing his girlfriend, and how it can take a while to settle in when you get back home. Erik’s a good guy and I very much enjoyed meeting him.

A while after that, the guitars were brought in and the guys played several acoustic versions of their songs. I can’t remember the entire set list, but it included at least the following:

  • 1985
  • Ohio (Come Back to Texas)
  • Girl All the Bad Guys Want
  • High School Never Ends
  • When We Die
  • My Wena
  • Hit Me Baby One More Time (Britney Spears cover)
  • Two-Seater
  • Hooray for Beer

Not wanting to be an irritating fan, I did not take my digital camera with me. (I regret that now, since several people did.) I did take my cell phone, however. The good news is that I took a couple of pictures and a short bit of video. The bad news is that in the low light, my cell phone took two blurry pictures and the video is at least as bad. I’ve put the pictures below because they’re all I have, not because they’re especially great or that it’s obvious who they are. I may post the video on YouTube at some point just to share something of the experience.

At the end of the evening, many people posed for pictures with the guys. My stupid cellphone battery was dead at that point, so I wasn’t able to have my picture taken with them… which was a bummer. I did, however, get to shake Jaret’s hand and talk to him briefly, explaining that I’ve been a big fan for several years now and that I am looking forward to their latest (upcoming) album. He said they expect it to be out in September and think it’s probably the best they’ve ever done. I’m looking forward to picking it up as soon as it’s available.

I heard several people comment afterward how talented and fun the guys were (and they were right). Even though it was something of an impromptu, casual event, they gave a great performance. Erik and Jaret were every bit as cool and down-to-earth as you’d expect them to be, given the content of their music. It was an excellent, once-in-a-lifetime experience and I thank my co-workers for being kind and thoughtful enough to allow me to take part.

Erik and Jaret of Bowling for Soup (Live Acoustic)

Erik and Jaret of Bowling for Soup (Live Acoustic)

Erik and Jaret Live Acoustic Show - July 7, 2009

Erik and Jaret Live Acoustic Show - July 7, 2009

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Review – Rodney Carrington “El Nino Loco”

June 20th, 2009

Album CoverIf you’ve never heard of comedian Rodney Carrington, that’s unfortunate. Carrington had a sitcom on television for a couple of years. Before and since then, he’s done a lot of stand-up comedy and other work. Carrington’s comedy is very “blue collar” like that of more well-known comedians like Jeff Foxworthy and Bill Engvall, though more “off color” than Foxworthy or Engvall. His act is part traditional stand-up comedy and part country music. I’ve been a fan of Carrington’s since the first time I heard him perform on The Bob and Tom Show several years ago. His latest comedy album “El Nino Loco” was just released this week.

(If you don’t enjoy off-color humor you may want to stop reading at this point.)

The album starts with the title track (”El Nino Loco”) about a man who’s normally mild and reserved at home, but who gets drunk acts crazy while on a vacation in Mexico (this earning the nickname “El Nino Loco” from the natives). The track is a country song infused with Mexican instruments and backing vocals. The musical style is reminiscent of country singer Marty Robbins. It’s a pleasant song to listen to, but not Rodney’s funniest work by far.

In “Drink More Beer”, Carrington suggests that you can relieve life’s stress by drinking more beer. A typical line from the song: “When your truck keeps overheatin’ cause your radiator’s leakin’, grab the brown bag at your feet ‘n’ drink more beer.” It’s an exaggerated parody of more traditional country songs about drinking, making the ridiculous point that “Bud makes you wiser, Bud Light makes you lighter” and wine coolers make you less likely to be straight.

“If I’m the Only One” tells the story of a loving, dedicated husband troubled by his wife’s “wilder” past and current exploits. Musically, it sounds like a traditional country song. Carrington’s vocal performance is excellent, and makes for a very enjoyable listen if you have any appreciation of country music. Carrington’s stand-up humor slips into this song better than the first two, with lines like “If I’m the only one you ever loved, whose underwear are these? If I’m the only one you ever loved, how come you got so many Mardi Gras beads?” and “I came by your office with some cookies I baked. I walked in and I saw him and his hands were in your hair. Both your feet were pointed in the air. If I’m the only one you ever loved, how come your boss is all over you? If I’m the only one you ever loved, how come his pants are down around his shoes? I’m just askin’ questions, I don’t mean to pry. You got all the answers, so baby just tell me why…” The video for this track was a free iTunes download recently. The video ends with all the scenes of cheating being just a bad dream Rodney had after eating a “Pita Pocket” before going to bed, and his many children (none of whom look like him) being the result of adoption (and of course his wife being faithful after all). It’s definitely the stand-out track on the album.

The next track, “Wish She Would Have Left Quicker” tells how a man’s wife has left him unexpectedly, but “Now I’m just wishin’ that someday she’ll listen ’cause I know just what I would say… I wish she would have left quicker, I would have had lots more fun. There could’ve been shots of tequila, with Sherry and Sheila, bikinis with bottoms – no tops, and one happy man… with no ring on my hand.”

“White Shirts & Rain” discusses how women in wet white T-shirts are more attractive.

In “The Best You’ll Do Tonight” the singer tells us how a very attractive woman in a mini-skirt spent the evening turning heads and flirting with the menu in the bar, but took too long to find the one she wanted to take home and now has to settle for those who are left. Carrington tells her “I know you had intentions of goin’ home with Mr. Right, but it’s last call for alcohol and I’m the best you’ll do tonight.” To help the woman save face, he tells her “Hey, we can leave in separate cars and no one has to know. I hope you don’t live too far from here, my gas tank’s runnin’ low. But if all goes well and I close the deal and you’re lookin’ for a date next week, you can come right back to the same old bar and I’ll be sittin’ in the same old seat.”

In a turn of phrase worthy of the best country songwriters out there, “Bowling Trophy Wife” tells the story of a man who’s found a woman to make him happy even though she “weighs a buck ninety” (190 pounds). He tells us he asked her to marry him when she belched out his name. “Yeah, other guys like trophy wives with tiny little waists, they’ll buy ‘em yachts and caviar to suit their champagne taste. Me, I like ‘em husky with an appetite for life. I thank God for givin’ me my Bowlin’ Trophy Wife.”

The next track on the album tells of the regrets of a man who had lots of women in his life but “got down in the wrong one’s pants” and is “married now, three kids and dog” but says he’d “love to have the chance to go back and do you all”.

“Don’t Tell My Wife” exaggerates on the typical country music theme of a husband away from home who does things he shouldn’t.

The final track, “Funny Man” is a relatively serious one, about how a funny man is sad when he’s away from his family. This is probably based on Carrington’s own life. After his sitcom deal ended, Carrington returned home to Bixby, Oklahoma. He told Tulsa World in August 2008 that “Two years (in Los Angeles) doing that TV show (the sitcom ‘Rodney’ aired on ABC from 2004-06), and I learned my lesson. I don’t want any more of that, and there won’t be anything like that again. Tulsa suits me fine.” He said that “It was a great experience, and I met a lot of great people, but I was actually thrilled when it ended because I got my life back. Before I started doing TV, I had a successful career, and I was making a lot more money touring and selling comedy albums. When I went to do the TV show, I not only increased by 80 hours a week my workload, but I took a pay cut. It was a bad deal all the way around.”

Musically, this a great album to listen to. Carrington’s vocals and the accompanying instrumental work is as good as you’ll find on any current country album. From a comedic standpoint, it isn’t his best work. That’s not to say it’s a “bad” album at all. It’s quite fun to listen to. I find his stand-up (spoken) comedy much funnier than his musical work, though I do enjoy both. His 1998 album “Hangin’ With Rodney” might be his best work overall, as it contains several of his signature bits like “Dancing with a Man”, his country cover of “Purple Rain” and “Kiss” by Prince, “Fred”, “Little Things”, and “Letter to My P*nis.”

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Lily Allen – “Alright, Still”

February 18th, 2009

Earlier this week, an online service suggested to me that I listen to the music of British recording artist Lily Allen. Allen’s music is described as “cheeky” and at first blush it sounds like any top 40 pop artist. In fact, it’s easy to dismiss her music during the first few bars of a song because it sounds like it’s going to be typical vacuous bubble-gum music of the sort most of us outgrow in our 20s. If you stick with it, however, there’s quite an intelligence and sense of humor to it.

Her first album, “Alright, Still” features 13 tracks (links below go to YouTube videos of the songs):

  1. In “Smile” we’re told that after a breakup, she was “so lost back then, but with a little help from my friends, I found the light in the tunnel at the end”. Now, the boyfriend’s trying to get her back, but she doesn’t want him. When she sees him cry, it makes her smile.
  2. Knock ‘Em Out” is about meeting “nasty” people in nightclubs who hit on you. Unfortunately, she says, you “can’t knock ‘em out, can’t walk away, try desperately to think of the polite thing to say”. It includes all kinds of excuses a woman might use to get rid of a potential suitor, such as being pregnant, engaged, etc.
  3. Ldn” (London) has a kind of calypso sound in places. It’s a story about riding around on a bicycle because “a filth took away my license” while still trying to enjoy the “priceless” sights while wondering what lurked below the surface. The sights include “a fellow looking dapper and he’s sittin’ on the slapper then I see it’s a pimp and his crack whore” and “a little old lady who was walking down the road, she was struggling with bags from Tesco… when a kid came along to offer a hand but before she had time to accept it, hits her over the head, doesn’t care if she’s dead, because he’s got all her jewelry and wallet”.
  4. In “Everything’s Just Wonderful” the singer laments that people are “going mental”, that she can’t get a mortgage to buy a flat, and that life is just some “sick” and “insincere game”.
  5. Not Big” takes a stab at an ex-boyfriend’s manhood and says that “I’m gonna tell the world you’re rubbish in bed now, and that you’re small in the game”.
  6. Friday Night” is a slice of “pub and club” life in London, and tactics of fear and intimidation by other club-goers.
  7. Shame for You” tells a sleazy guy that “you must be jokin’ me if you think you’ll be pokin’ me.”
  8. Littlest Things” talks about the early days of a relationship that’s now over.
  9. Take What You Take” strikes back at older people who offer unsolicited and unwanted advice.
  10. Friend of Mine” gets back at a “friend” who has been “chattin’ shite” behind her back.
  11. Alfie” talks about a little brother who spends all his time “smoking weed” and playing computer games.
  12. In “Nan You’re a Window Shopper” Lily chastises an older person who lives an uninteresting life and rarely gets involved with the world around her.

It’s an enjoyable album. The melodies are catchy, Lily’s voice is easy to listen to, and her accent helps deliver the humor inherent in all the songs. You’ll notice that there are “explicit” and “edited” versions of Lily’s albums. That’s because she’s not at all afraid of using crude language to help make her point or express herself.

If it sounds like something you might enjoy, check out the links above to hear the songs in their entirety on YouTube. After you’ve previewed them, you can pick up the album on the Zune Marketplace, Amazon.com, iTunes, or your favorite music store.

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Review: The Proclaimers – Life With You

March 13th, 2008

I first discovered The Proclaimers when they released a 1990 single entitled “I’m Gonna Be (500 Miles)” to some critical acclaim and Top 40 success (it was the #3 single in 1993).  Since then, I’ve tried to keep up with them and check out their albums as they’re released.  While surfing Spiralfrog.com’s library, I ran into the 2007 album “Life With You” and decided to give it a listen.

If you’re not familiar with The Proclaimers, they’re a Scottish rock band composed of two identical twin brothers, Charlie and Craig Reid.  Unlike some bands, their Scottish accents come through loud and clear in their music, as do their political views.  They support Scottish independence from Britain and are politically active in that regard.

One of the things I really like about The Proclaimers is their ability to turn a phrase.  Where some bands would take the cliched route in a love song and describe a woman in a red dress by comparing her to a rose or some other red object, The Proclaimers describe a pale woman in a red dress as looking like “blood lying on snow” (in the track of the same name).  While I celebrate this as an interesting turn of phrase, I have to wonder how a woman would react to being described as looking like blood on snow.  But this isn’t the only unusual choice of words in the song.  Later, they say “It’s taken generations of lucky breeding to make you” to the woman they’re interested in. I’m not sure how many women would be swept off their feet by such phrases, but they are fun to listen to.

I found “Harness Pain” to be a very strong track.  The listener is told they must harness pain if they want to hold “the flame” and “tell the truth about love”.  They’re told that “when you try to succeed you mostly fail” but you harness the pain and become stronger.

“The Long Haul”, “S-O-R-R-Y”, and perhaps certain other tracks seem to take on the Iraq war and its supporters, saying “I miss the days when the threat to our position didn’t come from some religion but from godless communism.”  We’re told “we’re not barbarians like we were way back when, we’ve learned from history, so we get to go around again” and “tell your sons not to bother with football, get a backpack on and crawl, we’re in this for the long haul”.

In terms of music and performance, this is as good an album as any other from The Proclaimers.  However, in terms of its content, it’s a far more politically charged piece than earlier albums like Sunshine on Leith.  

If you like The Proclaimers’ unique sound and can stomach their political views (whether you agree with those views or not), you’ll find this an enjoyable album and fair amount different from mainstream pop music.

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Review: Morrissey’s Ringleader of the Tormentors Album

April 1st, 2006

As I’ve discussed before, I’m a fan of the artist Morrissey from back when he was still the lead vocalist for The Smiths. Although I don’t always agree with his politics or his take on life, I do very much appreciate his vocal performances and his songwriting skill. Few artists are able to convincingly discuss the subjects he does with a touch that is poetic in nature.

“Ringleader of the Tormentors”  is Morrissey’s newest album, scheduled to be released on April 4th. Because I pre-purchased it through Amazon.com (click here to buy your copy), I was given the ability to listen to the entire album in advance through the Amazon Digital Locker service.

This album seems a little bit of a departure for Morrissey in that there are orchestral bits, backing vocals, and some different instruments in the background that I don’t think I’ve heard in his recordings before. It “updates”  his sound a little, while still keeping that sound very clearly “Morrissey”.

Read more…

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They Might Be Geniuses (Giants)

February 7th, 2006

I’ve been listening to They Might Be Giants for quite a few years now (decades, probably).  If you’ve never heard it, their music is fun, catchy, and kind of quirky.  Above all else, it’s good. Lately I started really taking a good long look at listen at They Might Be Giants, and I’ve reached the conclusion that these guys might well be business geniuses in addition to musical ones.  Allow me to explain.

Many artists who were popular decades ago try to reinvent themselves or incorporate the latest musical fad into their musical arsenal, often unsuccessfully.  This usually winds up making them sound like has-beens trying to recapture their past glory by imitating currently-popular artists.  It alienates their core fan base, and fails to bring in new fans in many cases.  This is not the case with They Might Be Giants.  Their music stays true to itself, and has for about 20 years now.  

But where other artists often fail is bringing in new listeners.  They Might Be Giants is, in effect, growing theirs.  Their music has been made famous by Animaniacs cartoons, which resonate with a younger crowd than their earlier listeners.  They’ve also released children’s albums, which help them introduce their music to a young fan base that will grow up to develop an interest in their grown-up fare.  I’m sure other artists must have done this before, but I can’t think of one.

They Might Be Giants also recognizes the value of the Internet in reaching their audience.  Their web site offers free MP3s, Macromedia Flash music videos, concert/tour information, merchandise, and more.  One of their recent releases for kids also sells on Amazon.com with “exclusive Amazon-only content”.  It’s a very net-savvy approach.

But the web site isn’t their only Internet venture.  They also offer “TMBG Clock Radio” which is a small Macromedia Flash application that provides non-stop streaming TMBG music, announcements, and more.  Their radio station plays live concert clips in addition to tracks off their albums.  Again, it’s a great way to reach true fans and to introduce their music to others.

Most bands today make a good chunk of their money from live appearances.  That means packing the place with fans and building good relationships with the concert venues so that they’re welcome back.  TMBG recognizes this, and recently created a unique song about every venue they played on their international tour.  I’d be willing to bet those venues use the songs in their advertising and on their intercom systems.  That means free advertising for TMBG.  This is another smart move, and one I don’t see a lot of artists making.  Their emails to fans probably help pack the venues with people, too.

It’s really impressive to see a band with such marketing savvy.  They keep in touch with their fans, provide a web site with lots of interesting content, a podcast, streaming radio station, fare for children and adults, butter up the venues they play in, and offer their own merchandise over the Internet as well as through mass-market retailers like Amazon.  Genius!

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Review: Stubbs the Zombie Soundtrack CD

January 24th, 2006

As mentioned in my review of “Stubbs the Zombie in Rebel Without a Pulse”, the background music in the game was one of its most endearing aspects.  The developers and musicians did a great job of fitting the music to the game’s environment, which was sort of a mix of 1950’s era style combined with what “science fiction” would have looked like to a 1950’s era person.  The cars looked like 1950’s cars, except they hovered.  Gas stations were still full-service, with robot attendants pumping the gas (and the car).  The music on the soundtrack captures this image well.  It consists of 1950’s style songs recorded by modern artists.  Either intentionally or accidentally, the songs also have a sort of twisted sound to them that somehow seems right at home in a zombie movie/game.

The soundtrack album is a great listen even if you aren’t interested in the game.  It features a number of songs you’ll quickly recognize, by alternative artists like The Raveonettes, Death Cab for Cutie, Cake, and The Dandy Warhols:

  • Ben Kweller – Lollipop:  The opening of this song sounds a good bit like the original, but quickly takes on the sort of “twisted 50’s” feel of the other tracks. 
  • The Raveonettes – My Boyfriend’s Back:  This track sounds little like the original, but it’s a great remake and definitely one of the stand-out tracks on the disc.
  • Death Cab for Cutie – Earth Angel:  Since I’m a fan of Death Cab for Cutie, I appreciate this track because they’re the ones doing it.  It sounds very little like the original, but has kind of an eerie feel to it that goes great with the other tracks here and the game itself.
  • Rose Hill Drive – Shakin’ All Over:  This is probably my least favorite track on the album.  It is somewhat out of place with the others, sounding more grunge-ish than 1950-ish.
  • Cake – Strangers in the Night:  Cake does a great job with this song, and it’s definitely one of the better tracks.  The vocals are perfect for the kind of song this is.
  • The Walkmen – There Goes My Baby:  This is one of the weaker tracks on the album, though it’s not terrible.
  • Rogue Wave – Everyday:  The first time I heard this song was in an entertaining movie called “Mischief” starring a young Kelly Preston (who spends a decent stretch of time, shall we say, “indecent”).  This version is good, above average among the tracks on the disc.
  • The Dandy Warhols – All I Have To Do Is Dream:  This is a very kitschy version of the song, but it is well suited to the point in the game where it appears, and it’s fun to listen to out of the game.
  • Oranger – Mr. Sandman:  This track starts off sounding a good bit like the original, then kicks into a decidedly alternative sound that fits in well with the rest of the soundtrack.  Overall, it’s one of the better tracks on the disc.
  • The Flaming Lips – If I Only Had a Brain:  This track from The Wizard of Oz has an amusing double meaning when played in the context of a game where you go around eating brains.  It’s well-performed here and fits in reasonably well with the other tracks.
  • Clem Snide – Tears On My Pillow 
  • Milton Snapes – Lonesome Town
  • Phantom Planet – The Living Dead

Once you’ve actually beaten the game, the song selections here provide a good tongue-in-cheek reminder of the storyline in the game as they echo it quite well.

I enjoy listening to this album almost as much as playing the game, which is saying something.  I’d give it an 8 out of a possible 10.  Definitely recommended if you secretly like any 1950’s era music and/or any of the artists listed above.

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Review: Colin Meloy Sings Morrissey

December 13th, 2005

Morrissey fans haven’t, in my experience, been very easy find.  Aside from the few people I’ve introduced to Morrissey’s music, I’ve perhaps only met a couple.  Because “The Mozzer’s” fans are so few and far-between, it’s fun to encounter another one.  I’d never heard of Colin Meloy or The Decemberists prior to seeing this album, but he’ll get some of my attention for no other reason than releasing this disc.  It’s a pleasure “meeting” another fan.

Listening to this disc, you will not at all be confused as to whether it’s Morrissey himself or a cover.  Meloy’s vocals are quite a bit higher-pitched and perhaps even a bit strained compared to Morrissey’s.  The instrumentals on the album consist solely of Meloy’s acoustic guitar.  You won’t find any of the trademark Morrissey sampling of obscure sounds, electric guitar riffs, etc.  Just a man, his guitar, and some songs by Morrissey.

Meloy chose some interesting tracks.  Most are B-sides and less commonly played songs, with the exceptions of “I’m a Poet” and “Everyday is Like Sunday”.  In some ways, this serves him well.  Since the songs aren’t “mainstream” Morrissey pieces, it’s less likely you’ll mind as much that it’s not Morrissey singing them.  One of the more interesting things to me about this album is the fact that Meloy’s vocals are much more distinct and easier to understand than Morrissey’s (or at least they’re not covered by a lot of instrumentals).  This is also a failing of the album, in that when Meloy goofs up a word here or there it becomes incredibly obvious (like when he sings “share some please tea with me” instead of “share some greased tea with me” in “Everyday is Like Sunday”).

While I would give Meloy an “A” for effort, an “A” for coolness in choosing to cover Morrissey, and at least a “B-” for picking the right kind of songs to do acoustically, I’ve got to give him about a “C-” for his vocals.  Having not heard The Decemberists, I am curious now to see how well suited those same vocals are to Meloy’s own music, since they really don’t fit in with Morrisseys.  His performance almost sounds like it’s causing him physical pain at times to reach the notes he tries (but doesn’t quite manage) to reach.

Sadly, other than as a nostalgic tribute to Morrissey, this album just doesn’t quite succeed.  I enjoyed listening to it the first time, if only to hear another artist’s interpretation of Morrissey’s work.  But as a work in itself, I’m just not that impressed.  On a 1-10 scale, with 10 being “excellent”, “Colin Meloy Sings Morrissey” gets about a 5

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Review: Jonathan Coulton’s “Where Tradition Meets Tomorrow”

November 28th, 2005

Album Cover ArtIf you haven’t heard Jonathan Coulton’s “Baby Got Back” cover, stop reading this review right now.  Go to his site, download it, and play it. If that doesn’t convince you that you want to know more about what he’s done, I’m probably not going to do much better in this review.

I’ve heard Coulton’s work described as “geek rock”. That might be the best description.  It’s a soft, melodic, rock sound with great vocals.  The songs on this album are about “geeky” topics like mad scientists and Mandelbrot sets.  While music about these topics might sound like something that will never rise above the level of a “curiosity”, Coulton’s songwriting, instrumentals, and vocals combine to create a sound that is just plain catchy.  You’ll find yourself wanting to sing them not long after you stop listening.  At least, that’s what happens to me and at least a couple of other people I know.

Jonathan Coulton’s album “Where Tradition Meets Tomorrow” is available online through CDBaby.com for the low, low price of $7.00 plus shipping.  Given that there are 5 songs on the album, that works out to a slightly-worse-than-iTunes price of about $1.40 a track.  The nice thing about CDBaby.com’s site is that you can listen to a pretty lengthy clip of each song on the album before you shell out that “buck forty”.  The disc you’ll get back from CDBaby is real, commercially-pressed disc with silk-screened artwork on it that is shipped inside a full-color cardboard sleeve.  (You expected a jewel case for $7?!  I didn’t.)

Read more…

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