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Album Review: Bruce Springsteen - 'Wrecking Ball' (on antiMUSIC)

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Bruce Springsteen – ‘Wrecking Ball’Album Review: *** ½ (3.5 Stars)By Anthony Kuzminski
Read the full review HERE over at antiMUSIC.
The centerpiece of the album, “Death to My Hometown” is a stinging portrait of betrayal. Highlighted with a booming martial drumbeat that evokes the cries of a community under siege it lashes out against unpunished criminals who did something worse than physically attack our land; they gutted it from the inside out. “Hometown” is an account of how we mistakenly believed that outside sources would destroy our country when in fact Americans who never wielded a gun or knife caused more harm than anyone ever could have imagined. The streets we grew up on, the towns that made our cars and the small businesses that helped our country and communities thrive, dried up because of greed. The glaring irony here is that in 1984, Springsteen foreshadowed this in a deeper level as he spoke about the closing of auto plants and how it ruined the heart of these small towns on “My Hometown”. That death and destruction went beyond main street America and infected the country as a whole. This was a decades-long detonating bomb that shattered the American dream. The final chorus changes to “Death to our hometown” where he places himself next to the listener. Springsteen is doing more than telling a story but mourning the loss of his childhood and his home. The streets and shops he walked with his father are gone and no amount of money and success can bring it back. It’s a subtle change in the song, but it penetrates the listener and pulls them closer like a friend in need. There is no divide between Springsteen and his audience here; we are one in the same sharing the same dreams and nightmares. 

Read the full review HERE over at antiMUSIC.

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter

Film Review: U2 -"From the Sky Down' (The Story of he Making of U2's Achtung Baby

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U2 – ‘From the Sky Down’
Film / BluRay Review [Originally published over at antiMUSIC]
***1/2 Stars
By Anthony Kuzminski
Buy the Blu-ray HERE

Fear of failure is something everyone lives within every person who breathes. As cocksure and confident one person may be, deep inside of them is a nightmare of falling on their face. Many see disappointment as the end of the line whereas it fuels others. It takes hold of them and forces them to work twice as hard the next time they climb the mountain. In the music industry record and ticket sales have always been viewed as the barometer of success, but sometimes artistry and relevance are better measuring points. In early January 1990 in Holland, U2 closed out a four year cycle that including writing, recording and touring The Joshua Tree and then writing, recording and touring Rattle and Hum. Smashed in the middle was a concert film. While achieving astonishing success during this period, they went from being on the cover of Time magazine in 1987 to taking a critical drubbing in late 1988 for what was viewed as the pompousness of Rattle and Hum.Once a musician reaches a certain level of commercial success, it handicaps them from ever making a truly career defining album ever again because if they repeat the formula of their rocket ship they’re viewed as riding on their own coattails and when they venture down dark and desolate roads for the road-less-traveled they’re viewed as stretching beyond their boundaries. Upon listening to Rattle and Hum in the fall of 1988, the world felt that U2 had peaked with The Joshua Tree and probably would never create another record as endearing or great. They were wrong. However, it wasn’t without profound hardship and tribulation. Great art is usually made amidst chaos and pain and U2’s monumental Achtung Baby is no different.

A true 180-degree change of direction that is met with both critical and fan acclaim in mostly an anomaly in the music industry. Artists have often made departures resulting in a fresh, enlivening and new sound, but rarely is it met with open arms. I could speak to you all day about the brilliance of Bruce Springsteen’s Nebraska, but the truth is most people would prefer to hear Born to Run. I personally feel Mick Jagger’s last few solo releases (1993-2004) found Jagger to reveal more within the albums than he ever would in an autobiography but the truth is few yearn to see him without Keith Richards at his side. Change is a condition of our lives we grapple with the most. Many would rather stay in a job or marriage where they are dejected than go through a short term ache which will lead to greener pastures. Many people are scared to try new food thinking they’ll loathe it when in reality they’re just as likely to take pleasure in it. In many ways, music is the toughest nut to crack. Most people gravitate towards the music they enjoyed during their teen years and what they hear on the radio. Getting someone to seek out new acts is tough and asking them to listen closer to more experimental works by their favorite artists is even tougher which is what makes the success of U2’s 1991 masterpiece Achtung Baby all that much more of an anomaly.


Before U2, the only band to truly manage a commercially and artistic 180-change of direction was the Beatles. The Rolling Stones were able to do it to a lesser extent with Some Girls, but in my opinion, that record’s strengths are more of a result of the songs. Obviously, David Bowie transformed several times in his career, but he never quite reached worldwide success at the level of the Beatles or U2. Achtung Baby was not a record that should have worked and even if it did, why did anyone think the public would accept it? Back in October of 1991 when I first heard “The Fly” I was perplexed. The sound was unlike anything U2 had attempted before and I wasn’t sure I liked it. When I heard the album a month later, I wasn’t sold. There were some sonically remarkable moments, but I wasn’t sure I would be listening to the record a year down the road, let alone twenty years. History has told a different tale as it is largely viewed as one of the decade’s ten greatest albums and the furthermost changes of direction in the history of music. To celebrate the film’s twentieth anniversary there was an elaborate ten-disc reissue of the album (6 CD’s and 4 DVD’s) with a documentary by director Davis Guggenheim being potentially the most revealing snapshot of the band ever. Two decades later it’s evident that U2 did indeed come through on the other side and managed the impossible, they reinvented themselves without sacrificing who they were in the process. In the new documentary film From the Sky Down we learn that in order to achieve this, the band had to forget everything they knew and almost lost the band in the process.

Director Davis Guggenheim took a high level approach with the film infusing it with enough minutiae to appease fanatics but reigns it in just enough to appeal to a informal viewer who will most likely find the story exhilarating. If the film has one flaw, it’s that it’s entirely too short. This is a case where an extended director’s cut would have been most welcomed. Comprised of interviews conducted in 2011 alongside vintage footage shot by Rattle and Hum director Phil Joanou in 1987, we see a band at the top of the world, but who was falling apart. Shifting between the past and the present gives a visceral view into their working process. Most bands once they attain a certain amount of celebrity rest on their laurels. It’s not that they don’t care about their art, but they may not obsess over it as much as they previously had. However, U2 is not like most bands. First and foremost, they’re a band in the truest sense of the word. Bono may be out front and a voracious spokesperson but as one can see from the interviews and video of the band during this period, all four members are essential to U2. Bono’s ego does not go unchecked and the Edge may create a kaleidoscope of colors but its drummer Larry Mullen Jr. and bassist Adam Clayton who keep the group from veering too far off course. It’s the fact that these four musicians, shepherded by their Svengali manager Paul McGuiness that keeps the band not just grounded but capable of making three undisputed masterpieces in three separate decades (The Joshua Tree in 1987, Achtung Baby in 1991 and All That You Can’t Leave Behind in 2000).

As they prepped for their 2011 tour, U2 began to re-learn and rehearse several of the songs from Achtung Baby. We see them rehearse and relearn many of the songs and this should be boring, but it’s rather fascinating as we’re a fly-in-the-wall during a rehearsal. We see a partial performance of the incandescent “So Cruel”, which was performed a measly five times on the 1992 tour. You begin to understand their need for perfection. I only wish more of these performances had been included. Aside from new interviews one of the key items that give the film historical focus is the footage Guggenheim was given access to. Snippets of clips from 1980-81 are startling to see because it’s a reminder as to why they’ve become the biggest band in the world. We next see their 1984 footage of them recording The Unforgettable Fire but the most revelatory vintage footage comes in the form of outtakes from Rattle and Hum in 1987. Some of this has leaked out on bootleg in the past and I can say the footage is pristine and makes one wonder when these outtakes will find an official release. Surprisingly, while some of the footage is fascinating (like the jam in Austin, Texas of the band with Stevie Ray Vaughn and T Bone Burnett) but it’s the modern day interviews paired with scenes of a band grasping their sudden success and inner doubt. On playing stadiums in 1987, Adam Clayton said “We would have this over-riding feeling of doom and gloom, that we just weren’t good enough”. Granted, the band has more than two decades of insight to come to these conclusions, but it’s still a revelatory comment. It’s evident that Rattle and Hum could have been a much more fascinating and better received film if they had let us into more than their musical minds and hearts. This works to Guggenheim’s favor as this footage feels fresh and new and doesn’t so much show a band brash as it reflect one struggling with uncertainty.

There was a deep dissection as to how big they had become. Footage of their 12/31/89 show from Dublin closes out 30-minutes of the decade that had preceded it and leads into the Manchester underground rhythms that would influence Achtung Baby and it’s sibling Zooropa.. Discussing their transformation is also a fascinating look at their relationship with Anton Corbijn. “We always felt that the photographs should look like the material. Anton was not photographing us, he was photographing our songs”. While this information may be well known to the followers of U2, I still found it wholly absorbing to see the steps they took to make this transformation a reality. However, no matter how big the concert stage or how bright the album sleeve, none of it would have mattered without the music. In 1990 the band set-up in Hansa Studios in Berlin expecting the magic of the city and studio to infect them with greatness; except greatness proved to be late to the party. It wasn’t until a 30-minute jam session for what became “Mysterious Ways” where things intensified. In the middle of an extended jam session, the band pulled out a snippet and began to work on the song separately. That song was “One” and the film unfolds this discovery in a goose-bump inducing scene you will never forget. You literally hear the birth of one of the defining songs of the last quarter century.

The breadth of Guggenheim’s film is wider than your typical music documentary. Many of those films take place inside a bubble where the director and artist never leave. However, by hiring an Oscar winning documentarian, the scope of the film is grander, more mysterious and earnest than an undemanding documentary would normally be. As someone who lives for minutiae, I long for further access to the band’s vaults and moment-by-moment video and recordings of everything tied to this period. However, the U2 fans that largely dismissed the film late last year when it appeared on Showtime missed the point. The band’s purpose was to take a larger audience into the chaos of their lives while revealing hidden treasures for the first time. The footage from the Rattle and Hum period is eye opening as it shows the band at their most innocent and their footage from 1991 shows not just a band but four friends who together overcame the obstacles in front of them to create a masterpiece. From the Sky Down was included in the ten-disc edition of Achtung Baby released last October in DVD format only. The Blu-ray was released this past January separately. In a head-scratching move, the Blu-ray has access to exclusive material not available on the ten-disc set. The Blu-ray includes three acoustic performances of “The Fly”, “So Cruel” and “Love is Blindness”. “So Cruel” features Bono solo and the rarely performed song (only five plays to date) is eye-opening, as is the partial full-band performance within the film. “Love is Blindness” is sung by the Edge and these two performances are so intensely stunning you can almost forgive the double-dip. The last extra of note, and one that could not have been included on the DVD, is a forty-five minute press conference with Bono, the Edge and Davis Guggenheim from the Toronto Film Festival. This is no ordinary interview as Bono sprinkles his dialogue with very rich tidbits of U2’s past, their present and their future. It’s a wholly engrossing interview with the band and is a worthy addition to the Blu-ray.

In the end, U2 achieved more than anyone could have imagined with Achtung Baby. They didn’t just create a weighty record that sold millions of copies and influenced a whole generation of artists but its release allowed the band to reinvent themselves. Above all else what matters more than the music was the friendships that endured. Most artists are so driven in their need for success that they forget that it was the artistry that brought them to this job. More importantly, U2 is a rare band where all four members equally care about what the other thinks and believes. While some may take issue with the film for not going deeper and more detailed, I think this serves the emotional tone better. From the Sky Down isn’t so much about the making of Achtung Baby as it is about four friends who managed against all odds to retain their friendship and conquer the world not once, but twice while doing it as a democracy. Their strength as a foursome is greater than any individual member and their ability to maintain their friendships, respect and love for one another is their greatest legacy of all and From the Sky Down reflects this beautifully.


Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter

Benefit for Lucinda's Kids

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Last December, our close community of friends, musicians, and music lovers lost one of its own when Lucinda Gallagher took her own life. Lucinda was kind and generous, and would give anything she had to anyone in need. She loved music, her friends and family, but more than anything in this world, her two amazing children. The children, now in the care of Lucinda's dear friend Jamie, both have their mother’s rock and roll spirit. Like her, they are bright and soulful, and have a deep appreciation for music. Young teenagers, both are gifted budding musicians. 
This benefit will include live shows on April 29th and 30th at the Bowery Electric, as well as an auction and raffle that will raise money to be put in trust for Lucinda’s children. All artists and persons involved have generously donated their time and talents, as well as items for auction and raffle. With the advisement of Bob Benjamin of the Light of Day charity, we will ensure that 100% of the proceeds are placed into a trust for the children. 


Read Marah's comments on the show HERE
The Aquarian has a piece on the benefit HERE
ARTISTS ON APRIL 29th 
Marah 
Jesse Malin
Jimmy Gnecco & Dave Milone
Jim Boggia 
Aaron Lee Tasjan
Petter Ericson Stakee (of Alberta Cross)
+Special Guests!
BUY TICKETS HERE

ARTISTS ON APRIL 30th
HR (of Bad Brains)
Tommy Stinson
James Maddock 
Alan Vega
Aaron Lee Tasjan
+ Special Guests!
BUY TICKETS HERE

AUCTION & RAFFLE ITEMS FROM
Bob Gruen
Danny Clinch
John Varvatos
Mary Louise Parker
Morrison Hotel Gallery
+ many more!

Go like the official page :
https://www.facebook.com/BenefitForLucindasKids

Buy tickets here: 
http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=4486515

If you can't make it to the show, but you would like to donate, you can do so here: 
https://www.facebook.com/BenefitForLucindasKids?sk=app_18015191938

Sound of 2012 Part 2

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My look at five of the remaining ten of the biggest upcoming artists of 2012…

A$AP Rocky – Wassup

When a song is only two-and-a-half minutes long and takes thirty seconds before it gets into the actual song it does come across as unusual. Channelling Snoop Dogg and ticking off every rap cliché in the book it’s not a particular exciting rap track. His flow is good but it fails to excite me and it just sounds too much like a record someone would record to spoof rappers, but the chorus is pleasant enough. [4/10]



Dot Rotten – Are You Not Entertained

The only of the BBC’s fifteen strong line-up I’d heard of before the poll was announced and the one I’ve seen live and would have plucked out for the top five. Though his artist name is possibly a fail in itself sounding too much like an old actress from Eastenders – er, you know the one – his rap is much more exciting, fast and more refreshing than A$AP Rocky’s and the chorus is more commercial and fun. I’m sure he’s going to be accused of being too poppy to be urban but it’s never done Eminem or 50 Cent any harm. The most well rounded of any songs in the top fifteen, “Are you not entertained?” he asks. I have been. [8/10]



Dry The River – Weights and Measures

Lacking a Wikipedia page is never good news for a fledgling band but their music is prevalent on YouTube. Casual, laid-back indie with well-written lyrics and a powerful chorus, even if the production is maybe a little overpowering towards the drums. If you like artists along the lines of Biffy Clyro then this is a good follow-up band. ‘Weights and Measures’ is a track that’s great to listen to but perhaps not hooky enough to stick with you, but we’ll see. [6/10]



Flux Pavillion – Bass Cannon

Not really my type of music, it mixes in the styling of club tunes with, what can be best described as, audible noise rather than music in its traditional sense. In a club environment then this is probably great to listen to but at home it’s just a catchy hook separated by lengthy sounds you’d get from doing DIY. I know that probably makes me sound old but the Skrillex track was of the same genre and I much preferred that. [5/10]



Friends – I’m His Girl

With possibly the worst name ever for searching for their music, due to the sheer volume of, you know, sitcom clips you get, maybe they’re not exactly clued up on how to market their music? Which is a shame as ‘I’m His Girl’ is a refreshing slice of retro pop-rock with a silky bassline and a cracking vocal track, on a track that throws in some clapping, cow bell and other additions. One of the best of the fifteen and should have been in the top five. [7.5/10]

Dick Valentine (Acoustic Live) [Review - Fibbers - May 27th 2012)

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Dick Valentine (Acoustic Live)Fibbers, York (Sunday 27th May 2012)

And so it was back to Fibbers, my old stamping ground, in York on a balmy Sunday night to see Dick Valentine, lead singer of Electric Six, performing an acoustic set for the first time in six years at the venue. Back in 2006 I had seen him on his ‘American Troubador’ show where he debuted as-then-unheard tracks such as album Switzerland’s ‘Night Vision’ and ‘Pink Flamingos’ and ‘I Don’t Speak French’, finally released on his solo LP this year ‘Destroy The Children’, a CD available digitally but in limited physical copy at this, and other, shows.

Fibbers, as noted by the second support act of the night, had changed since his particular last appearance in the venue and that, on the new stage, he would have previously been performing in the toilets. But, since I saw the full band there not that long ago, the new Fibbers was familiar to me in all its glowing step, chipboard-walled toilet glory.

Opening support ‘Nico Cara’ didn’t have much of an audience to perform to – it was only just into double figures – but his acoustic original songs were engaging, catchy and well performed and definitely worth a listen at http://www.facebook.com/pages/Nico-Cara/363744760302524. Sounding very much like Jamie T in full on ‘Sheila’ mode, his understated music was a joy to hear and a great start to the gig.

It was second support, though, that really kicked up the pace. In a similar style to ‘The Re-entrants’ that supported ‘The Lancashire Hotpots’ at a recent Fibbers gig, Jake Radio’s schtick was to mix a couple of songs from his full piece band “Be Quiet Shout Loud” (found online at http://www.myspace.com/bequietshoutloud) including the fun and tongue-in-cheek “Jesus Is Coming” which folk reimaginings of the most unlikely songs possible, from the opening version of Limp Bizkit’s ‘Rolling’, making the frankly stupid lyrics sound much more credible, to a concluding crowd-interacting version of ‘The Final Countdown’ which the audience were more than happy to sing along with, with crowd engagement being high on Jake Radio’s hit list. With a suit as sharp as the points on his white shoes, Radio also entertained with perhaps the best style-change song I’ve heard ever, even beating The BossHoss, Richard Cheese and their like, in the Bloodhound Gang’s ‘The Bad Touch’. Even though he couldn’t quite keep up with the fast pace of the song it was a cover both funny to hear and masterfully performed. There was though, a roll of eyes from me and my friend when he whipped out a folk version of ‘Gold’ by Spandau Ballet which ‘The Re-Entrants’ had done previously. It was no better or worse than their version but it seems to be becoming Fibbers’ support theme song.

With hardly five minutes between the excellent Jake Radio leaving the stage it was the turn of Electric Six frontman Dick Valentine’ to appear on stage, dressed casually in a green top and a hat with a black guitar slung around his shoulders.

Opening with ‘Hey’ by the Pixies which melded into the titular track of his album-to-promote, Valentine showed far more confidence on stage than six years previously or even on bootlegs from the past few years, playing all the songs flawlessly and with skill, even the songs adapted from full band efforts. “Destroy The Children”, with its hilarious pop culture lyrics, sounded indistinguishable from the album version and was greeted well by the larger, but still disappointingly cosy, crowd. This was to be an excellent night of music and the numbers in the room didn’t justify the quality, but those that were there enjoyed it, ignoring the handful of people who felt it necessary to talk during his songs, which can be covered up at full gigs but not at one where the loudest instrument is a non-electric guitar.

New album opener ‘Counterattacks’ lost its second half instrumental, instead segwaying neatly into ‘Detroit Sandwich’ from the Valentine-song-written ‘Bite Me’ internet video series, a song I’d not heard but one that sounded great live.

It was into more familiar territory next with great performances of ‘Steal Your Bones’ and the cult classic ‘Jimmy Carter’ from ‘Kill’ and ‘Senor Smoke’ albums respectively before ‘Earth Side of the Moon’ from his solo release was delivered with aplomb. Old Wildbunch classic ‘I’m On Acid’ was a welcome appearance next before the as-yet-unreleased ‘I Killed Our Love’ was whipped out and performed well, with some short but witty banter between various tracks by Valentine. ‘Mr Shadow’ moved the set on, again sounding as good as the album version, before personal favourite ‘I Don’t Speak French’ got the crowd singing and laughing, showing a good mix between people familiar with the album and those experiencing it for the first time.

There was a slight break while he sold four copies of the album to lucky people on the stage, an extra fiver being their cost for meeting Valentine on stage and after this unusually lengthy interlude it was back to rattling through the Electric Six classics with ‘When I Get To The Green Building’ and ‘Pink Flamingos’, both sung back to him by the crowd and great versions of them.

The reason for a second mic on stage was revealed next after it had spent much of the stage standing there awkwardly, with Jake Radio appearing back on stage for a well-constructed duet of Tom Waits song ‘Dirt In The Ground’ which, though depressing in tone, was a great match of their vocals.

With some cracking one liners dispensed to the crowd (“Do you know about the Jubilee?” / “What did you say about my friend Billy?”) and a few verbal smackdowns of some crowd idiots, his version of “Evil Cowards” stand-out track ‘Sex Wars’ was very welcome and a much loved addition to the set. It was great to hear it performed acoustically, and the same could be said for ‘I Am Repulsed By My Daughter's Lover’ from his solo album and ‘Vengeance and Fashion’ from ‘Fire’ which were both performed excellently both in relation to guitar and his vocal tricks.

His set continued to be rooted in the past with ‘She’s White’ receiving the stripped-back treatment, but with snippets of Keane’s ‘Somewhere Only We Know’ and Peter Gabriel’s ‘Book of Love’ slotted proficiently between the verses. I’m not familiar enough with the latter to comment on it but Valentine certainly gave Tom Chaplin a run for his money in the vocal stakes.

The encore was a well-decided trilogy of songs, from personal new favourite ‘One Policeman Leads To Another’, where he certainly pulled the crowd into singing along and Electric Six classic ‘Dance Commander’ which continued the crowd going mad. It was also fantastic to hear his Bruce Springsteen cover as his closing number, as Valentine’s version of ‘Beautiful Disguise’ is incredible.

Overall, we were treated to nearly eighty minutes of music on the night with a well-balanced cross section of music from his various bands, collaborations and influences and though it would have been great to have perhaps heard something like ‘Night Vision’ performed again there are few complaints from me regarding the track selection, especially with inclusions such as ‘Jimmy Carter’, ‘Sex Wars’ and ‘Pink Flamingos’ from the back catalogue.

Another cracking night of music from an under-appreciated singer-songwriter who showed off his vocal and songwriting skills away from the exhuberance of the full band.

I just hope we can destroy the children before songwriters similar to all three acts on the night are replaced by autotuned dancers. Full SetHey (The Pixies)Destroy The Children (Dick Valentine)Counterattacks (Dick Valentine)Detroit Sandwich (Bite Me)Steal Your Bones (Electric Six)Jimmy Carter (Electric Six)Earth Side Of The Moon (Dick Valentine)I'm On Acid (The Wildbunch)I Killed Our Love (Electric Six)Mr. Shadow (Dick Valentine)I Don't Speak French (Dick Valentine)When I Get To The Green BuildingPink Flamingos (Electric Six)Dirt In The Ground (Tom Waits)Sex Wars (Evil Cowards)I Am Repulsed By My Daughter's Lover (Dick Valentine)Vengeance And Fashion (Electric Six)I Invented The Night (Electric Six)She's White (Inc. 'Somewhere Only We Know' and 'Book Of Love') (Electric Six / Keane / Peter Gabriel)One Policeman Leads To Another (Dick Valentine)Dance Commander (Electric Six)Brilliant Disguise (Bruce Springsteen)

10 Things I Want To See From Tonight's Jubilee Concert

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1. With Robbie and Kylie both on the schedule I'd like to see them team up for a live version of 'Kids'
2. Madness to get everyone to do the nutty-boy dance to 'One Step Beyond'
3. Sir Paul McCartney to sing 'We Can Work It Out' without News International hacking into his phone to do so
4. Prince Harry to play the tambourine live on the Commonwealth Band song
5. Prince Philip to avenge Brian May and performing 'God Save The Queen' with bagpipes on the roof of Buckingham Palace
6. Prince Philip to insult Stevie Wonder live on stage with some blind person joke
7. Tom Jones and Jessie J to both turn their backs on JLS using revolving chairs when they start singing
8. That chap from the Script goes mad realising that the other three judges from 'The Voice' are performing and he isn't, and slaps the Queen in the face with a custard pie
9. Elton John starts playing 'Candle In The Wind' and is immediately removed from the stage by the security staff
10. Cliff Richard calls Ed Sheeran 'Ron Weasley' and they have an on-stage fight

Jubilee Concert (4th June 2012)

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As part of the general Jubilee celebrations yesterday was a three hour concert featuring, frankly, a stellar line up of artists from throughout Queen Elizabeth’s reign as well as some comedians bridging the gaps.

Overall the concert was a fantastic experience and well worth seeing, from the grand stage in front of Buckingham Palace to the great selection of British talent and some from further afield. That’s not to say it was the best start ever.

After a short performance from the Scot’s Guards that kicked it off in right Royal fashion we got Robbie Williams, surely one of Britain’s most reliable and enthusiastic entertainers, starting the show with ‘Let Me Entertain You’, both an appropriate start and a real energetic opening with musical backing from the guards adding to the music and I hope this is available to download soon. It certainly got the crowd going and it was just a shame he only had one opening number, and it also should be noted that he hit the notes of the song perfectly. Why? Because of what followed.

Is it the acoustics of the venue? Is it the sound system? Why do half of the artists sound shocking? Surely it can’t be because they can’t sing live? Well, I’m afraid it must be the latter as many of the artists showed it was neither the acoustics or the sound that was causing some to sound bad. One artist sang a song while bloody hula hooping and sounded perfect for heaven’s sake!

Will.I.Am of the Black Eyed Peas came on next to sing their hit ‘I Gotta Feeling’ and, frankly, until Jessie J came on to rescue the song it was horrible. I admire Mr Am as a producer and rapper but he should never try singing. Especially live. It was horrible to listen to until Jessie J replaced Fergie on vocals – perhaps they were afraid of booking the wrong one, or couldn’t afford the “access” – and continued the show with a fantastic live version of ‘Domino’, a difficult song to sing but one she pulled off with aplomb. The stage, though, having previously been full of guards and string players, did seem strangely empty by this point.

JLS came on next with ‘U Make Me Wanna’ which was mostly OK but had its fair share of bum notes and I’m glad I had five minutes of Sky Plus pause to fast forward through. The next bridge was done by comedian Miranda Hart who, as expected, couldn’t end a punchline without making it sound like the end of a desperate lonely hearts column. I loved her in ‘Not Going Out’ but her solo material is so samey and desperate it annoys me. At least she didn’t do a prat fall though.

Next on the bill was a great idea of a cover, Lady Antebellum’s ‘Need You Now’. It was also a great idea to get concert organiser Gary Barlow to sing the male vocal. It was more grate, though, that they get Cheryl Cole to sing the female vocals. Frankly, she sounded awful, especially against Barlow’s in-tune vocals. It’s no wonder I didn’t like ‘Three Words’ when she duetted with Will.I.Am. I imagine live it must sound like someone slaughtering a cat to a bassline record.

The concert was lifted back up though by excellent comedian Lee Mack doing the next link, throwing in probably the best written and delivered comedy of the evening that didn’t fall back on fawning or stereotypes. It certainly cements Mack as one of our best current comedians both in stand up and on sitcom.

Gyrating septuagenarian Cliff Richard was up next to perform a montage of his hits which was fun to hear as a collection of songs from earlier in the Queen’s reign but even he struggled with some notes and didn’t cover himself in much glory. He ended with a full version of ‘Congratulations’, sadly a song ruined for me by too many visits to Frankie and Benny’s where they insist on playing the song every time a birthday party is in, which is most times.

Michael McIntyre-look like Lang Lang came on next to do some piano work, raising the cultural bar of the night, though I was expecting the Chinese panda from Glasgow Zoo to appear and then the music continued in the same vein with some opera from Alfie Boe including that Cornetto advert tune (yes, I’m a pleb).

Lenny Henry was on around here to do the next link. Now I love Henry as a comedian but, like Miranda Hart who always does her lonely hearts jokes (she did again in her second link – I’m glad I wasn’t playing the jubilee drinking game where you take a shot everytime Cheryl Cole missed a note, she mentioned she needs a man or the Queen looked miserable), he always shoe-horns a joke in about him being black. That’s great, Lenny, we know that. It’s 2012. Being black isn’t something weird or foreign so stop acting like it is.

Possibly the weirdest act of the night came on next, singer Grace Jones, dressed like a lobster, hula-hooping her way through her song. I assume this is a game to be showcased tonight at Nintendo’s E3 show. Her delivery of the song was perfect especially considering the extra exercise she was doing at the time and added another genre tick to the concert that was the definition of something for everyone.

Prince Harry look-a-like Ed Sheeran was on next and did what I thought was impossible and made me enjoy him singing ‘The A Team’. He sounded great but not sure a song about class a drugs is suitable for such an auspicious occasion.

Annie Lennox was the next act, trying to one-up Grace Jones in the fancy dress stakes, coming on with a pair of angel wings that the band had also donned. Either that or she’s appearing alongside Matt Smith in the next Doctor Who series and if you blink she’ll take you back to the Queen’s silver jubilee. Her voice was great and she tackled the songs well and proved that, in the main, it was the older artists holding up the music on the night.

With Rolf Harris suddenly appearing as a compere – he comes in useful later but otherwise one of the world’s leading entertainers is sadly underused – it’s onto Tom Jones who brings one more Welshie onto the stage after Rob Brydon and the soon to appear Shirley Bassey. He opened with a smooth and great sounding version of ‘Mama Told Me Not To Come’ sans the Stereophonics and then a Spanish reworking of sing-a-long hit. As many Twitterers observed – one of the highlights of this performance was commenting jokes on Twitter and seeing what everyone else was putting, and I apologise to my followers for my 200+ tweets on the night – a sing-a-long wife-murdering song is an unusual choice, especially when followed by the return of Robbie Williams singing ‘Mack The Knife’, offering the musical back-to-back equivalent of a London knife fight. It was great to see Robbie back on stage even if it was singing his swing cover, but it must have been a good start for the Queen, who turned up at this point. I know her husband is in hospital but she didn’t at all look like she was enjoying the gig. It’s alright for her, she came in at the good bit and didn’t have to hear Cheryl, Cliff or Will.I.Am.

The next song was probably the highlight of the evening for me. It was Gary Barlow’s ‘Sing’, performed on stage by the Commonwealth band including the Military Wives and a young African choir. It’s a beautifully composed song and was done marvellously live with all the voices and characters and works really well as a soundtrack to the Jubilee.

After a few more links – Rob Brydon seemed obsessed with making Gay / Queen jokes but his Jeremy Hunt line was possibly the most inspired joke of the night – we got one number from an underused Shirley Bassey – naturally ‘Diamonds Are Forever’, the first of two James Bond songs of the day – and then a montage from Australian pop princess Kylie Minogue who looked rather sexy in her pearly-king inspired costume and rattled through a good range of hits and some top dancers.

As the concert began its journey towards the end we got a beautiful rendition of West Side Story’s ‘Somewhere’ by Alfie Boe and Renee Fleming on the Buckingham Palace balcony (a musical about gang warfare – there’s a trend here) and then a cracking set from national treasure Elton John, starting with my favourite track of his ‘I’m Still Standing’, alongside ‘Crocodile Rock’ and ‘Your Song’, which is a set-list you can’t really criticise, even if he didn’t do ‘Candle In The Wind’. Shame.

With more black jokes from Lenny “One Note” Henry we then got the possible highlight of the evening, tongue-in-cheek. Forever more Stevie Wonder will be blamed for not being ready on time, or Gary Barlow for running too early, as Rolf Harris was called on to fill time. Naturally he performed ‘Two Little Boys’ acoustically which did get the crowd going, but the inclusion of the final number one of the sixties would never really be on any ones wish list. Though, kudos to the man, Harris proved himself to be able to keep the show going and the crowd involved at very last minute and shows him to be the amazing entertainer he is, even if he did start to break up with laughter.

Stevie Wonder’s set was as great as expected with the amazing ‘Sir Duke’ starting his set with ‘Happy Birthday’, perhaps not as relevant to the occasion as Cliff’s ‘Congratulations’, following alongside ‘Superstition’. A fair point was made by Lee Mack about him doing a duet with Paul McCartney on ‘Ebony and Ivory’, something that didn’t happen, but echoes the feeling I had about artists sharing the bill and not teaming up. Robbie and Kylie performing ‘Kids’ would have been incredible.

The major highlight of the evening had to be, though, Madness on the roof of Buckingham Palace but not necessarily for their performance, though that was as amazing as you’d expect. Accompanying ‘Our House’ was some eye-popping visual effects projected onto the front of the palace showing the front peeling away to show a row of terrace houses and then people dancing inside. It had to be seen to be believed but was a visual spectacle.

Peter Kay was a surprise guest for a brief and mildly amusing comedy set before headliner Paul McCartney came on for a fun set full of unusual song choices including ‘Magical Mystery Tour’, ‘Live and Let Die’ and ‘Ob-La-Di-Ob-La-Da’. He sounded good though and got the crowd singing but expected some more sing-a-long Beatles tunes.

The night ended with a touching speech from Prince Charles – calling the Queen ‘mummy’ and an impressive firework display that was well timed with the end of the BBC coverage.

Overall the Jubilee Concert was a well organised and enjoyable 200 minutes of music, encompassing artists to please as many people as possible. Tom, Madness, Robbie, Gary, Shirley, Kylie, Paul and others lifted the show to great heights, it’s just a shame that Cliff, Cheryl and Will.I.Am seriously let the sides down. The light work was great, the projections fantastic, the fireworks a great rounding off of the night. Though a few of the comperes were less than funny – Mack, Harris and Henry, when he wasn’t making stereotypical jokes, were the best – it was an event that was held together well, and was made even better with the typical British self-depreciation and piss-take humour evident on Twitter.

The BBC’s coverage of it was mostly first class but I bet the atmosphere of being there on the night would have been even better. A great night to celebrate her Majesty’s 60 years of reign.

(8.5/10)

Update: The Rise Of The Cash-in Cover Song

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A couple of months ago I wrote this blog piece for All Noise about the rise of sound-a-like songs released on music download sites and what it could mean for customers - http://all-noise.co.uk/2012/04/25/the-rise-of-the-cash-in-cover-song/.

And this week an article appeared on the internet about how just such a sound-a-like is set to chart inside the top ten this Sunday as people have been downloading the track either to get a copy of the song or thinking it is in fact the actual release: http://www.digitalspy.co.uk/music/news/a387429/fake-maroon-5-payphone-song-may-reach-singles-top-ten-on-sunday.html.

Various comments under the article cement my thoughts that these type of songs are catching people out:

"I am really really annoyed by this. I downloaded the cover version believing it to be the Maroon 5 version. I have never heard of this before - I will be sure to double check before downloading in the future! Why are iTunes allowing these covers to be purchased???" says Ellie Thomas.

A key element of my article is also repeated by Rebecca Tedder:

"This is something I have said for a long time. From the first radio airing it should be available to download. They can still do the pre-release interviews and hype but if they want to stop/cut cover-versions or illegal downloads, then this is the obvious thing to do. If I hear something on the radio and really like it, I would probably buy it sooner rather than later"

Something needs to be done to tackle these cash-in covers for the protection of consumers and ensuring the band's get the royalties they deserve, though as someone points out on the blog, will anything change as the songwriters will get cash for the cover then for the original when consumers realise their mistake...

Jana Kramer - "Why Ya Wanna"

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Feature Friday this week will showcase an up and coming country star. She has had a bit of radio time here in Cedar City lately. You may think here name sounds familiar. Well if you are a One Tree Hill fan it should. She played Alex Dupre in seasons 7-9. In February 2011, Kramer signed with Warner Bros. Nashville Records. A digital single, "I Won't Give Up", was released to iTunes and Amazon.com in February 2011 and was featured on an episode of One Tree Hill. The song reached number 75 on the Billboard Hot 100. Her first official single, "Why Ya Wanna", was released to country radio in late 2011. Jana recently announced her debut album "Jana Kramer" will be released on June 5, 2012. (Source)

Luke Bryan Two Videos That Go Together

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Luke Bryan's songs "I Don't Want This Night To End" and "Drunk On You" go together. They feature a girl and then waiting for the girl. according to the GAC TV blog, " In Luke Bryan’s last video, “I Don’t Want This Night To End,” Luke was left wondering where the girl he’d spent the night with was from, after she left him sleeping in a barn. In his new video, “Drunk On You,” set two months later, Luke makes good on his promise to leave her a ticket as he tours the country – but will she show up?" I guess you need to watch both to decide for yourself. Happy Monday everyone!

Does she show up? Find out in this video. To see what happens to Luke on his tour.

Easton Corbin - Lovin' You Is Fun

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Easton Corbin has seen quite a bit of success since he signed to Mercury Records in 2009. In March of 2012 he released his self titled debut album, which features two #1 hits, "A Little More Country Than That" and "Roll With It". This song "Loving' You Is Fun peaked at 34 on the US Country Charts.  (Source) He is currently on tour. You see tour date please visit this site http://www.eastoncorbin.com/events/default.aspx
 
I don't think we have seen all there is too see with this single. It was released on March 13, 2012. He still has time to make this a top hit for summer.

Brantley Gilbert - You Don't Know Her Like I Do

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Brantley Gilbert has recently hit the country music scene. He is an American country rock music singer-songwriter. Songs he has written have been record by Jason Aldean and Colt Ford. The album Halfway To Heaven which was released on March 16, 2010 peaked at #2 on the US Country Charts and is certified US Gold. This single, "You Don't Know Her Like I DO" peaked at #13 on the US Country Charts. This single was released in 2011. I have heard it on the radio more and more lately. I hope you like this single from Brantley Gilbert. (Source)

Ronnie Dunn - Cost Of Livin'

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Happy Birthday Ronnie Dunn! As a birthday present Feature Friday includes "Cost of Livin'". Ronnie Dunn is an American country music singer-songwriter, known for being one half of the duo Brooks & Dunn. In 2011, Dunn began working as a solo artist following the breakup of Brooks & Dunn. He released his self-titled debut album for Arista Nashville on June 7, 2011, reaching top 10 with its lead-off single "Bleed Red". Cost of Livin' peaked at 19 on the US Country Charts. (Source)

I Walk The Line

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Western Wednesday with Johnny Cash. Johnny Cash was an American singer-songwriter, actor, and author, who has been called one of the most influential musicians of the 20th century. Although he is primarily remembered as a country music icon, his songs and sound spanned many other genres including rockabilly and rock and roll—especially early in his career—as well as blues, folk, and gospel. This crossover appeal led to Cash being inducted in the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and Gospel Music Hall of Fame. "I Walk the Line" is a song written by Johnny Cash and recorded in 1956. After three attempts with moderate chart ratings, "I Walk the Line" became the first number one Billboard hit for Cash. The single remained on the record charts for over 43 weeks, and sold over 2 million copies. (Source)

Feel Like A Rock Star

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Kenny Chesney and Tim McGraw have been seeing a good bit of each other lately, as the two polish their boots in preparation for their upcoming Brothers of the Sun Tour, which kicks off June 2 in Tampa, Fla. Plus, the pair of country studs hit the ACM stage to perform their new joint single ‘Feel Like a Rock Star.’ And then the two took their rocking single to the stage of ‘The Ellen DeGeneres Show.’ Introducing the dynamic duo, Ellen pointed out that between the two of them, Chesney and McGraw have sold more than 70 million albums and can boast more than 50 No.1 hits. That’s pretty impressive. (Source)

Easton Corbin - Lovin' You Is Fun

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Easton Corbin has seen quite a bit of success since he signed to Mercury Records in 2009. In March of 2012 he released his self titled debut album, which features two #1 hits, "A Little More Country Than That" and "Roll With It". This song "Loving' You Is Fun peaked at 34 on the US Country Charts.  (Source) He is currently on tour. You see tour date please visit this site http://www.eastoncorbin.com/events/default.aspx
 
I don't think we have seen all there is too see with this single. It was released on March 13, 2012. He still has time to make this a top hit for summer.

Brantley Gilbert - You Don't Know Her Like I Do

To contact us Click HERE
Brantley Gilbert has recently hit the country music scene. He is an American country rock music singer-songwriter. Songs he has written have been record by Jason Aldean and Colt Ford. The album Halfway To Heaven which was released on March 16, 2010 peaked at #2 on the US Country Charts and is certified US Gold. This single, "You Don't Know Her Like I DO" peaked at #13 on the US Country Charts. This single was released in 2011. I have heard it on the radio more and more lately. I hope you like this single from Brantley Gilbert. (Source)

Ronnie Dunn - Cost Of Livin'

To contact us Click HERE
Happy Birthday Ronnie Dunn! As a birthday present Feature Friday includes "Cost of Livin'". Ronnie Dunn is an American country music singer-songwriter, known for being one half of the duo Brooks & Dunn. In 2011, Dunn began working as a solo artist following the breakup of Brooks & Dunn. He released his self-titled debut album for Arista Nashville on June 7, 2011, reaching top 10 with its lead-off single "Bleed Red". Cost of Livin' peaked at 19 on the US Country Charts. (Source)

The Screen Door's Favorite Albums of 2011

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The Screen Door's Favorite Album’s of 2011
By Anthony Kuzminski

Music for the last several decades is more than an art form to me, but an essential limb. Besides being the soundtrack to my life it’s also a crucial entity as imperative as a liver or heart to the body because of the simultaneously blissful and calming effect it provides, I’m passionate about music and at the end of a day, I like what I like and I write about it in the hopes someone will possibly look at an artist, song or album in a framing they had not imagined before. We come to the end of another year and I give you yet another list. As you can glance from my list below, it’s anything but cool, but it lists the music that meant the most to me in the last twelve months. These albums serenaded me when the going got tough and they also liberated me when it was most needed. With each passing year, the album continues to lose its grip on the music buying public and artists have often allowed it to slip further from their grasp often completing inconsistent works at best. Make no mistake, as you can see from my runners-up list at the bottom, there was a lot of good to very good music in 2011, however fewer LP’s contain top-to-bottom greatness. What I have listed below are my ten favorite records of the year with an honorable mention. Only one album was christened with four-stars (see #1) but the rest are all equally enlightening,

I know I have a few choices which will send them into a state of shock. I’d like to tell you that I think the new Florence + the Machine and Feist albums are among my ten favorite records of the year, but they’re not. For the record, both are exquisitely beautiful in their own way, but the truth is I listened to Britney Spears and Natasha Bedingfield’s albums much more and song-for-song found greater pleasure in them than the two aforementioned critics favorites. Does this mean I have bad taste in music? Possibly, it might also mean I’m willing to let my freak fly in public and simply state what didn’t just move me emotionally but physically as well. One of the most intrinsic beauties about music is how often we embrace it. If I go over my Top-Ten films on any given year, there are a few I saw only once and may see less than five times in the next decade. But an album is more portable; in the car, on a plane, running, commuting to and from work, etc. It allows for a deeper introspection and these songs seep their way into your head and heart in ways you never could have imagined. A song may appear on the radio, in a film or simply on shuffle and on that particular day, it opens windows that transcend our existence. Songs like “Shake It Up” by Florence and the Machine and “Till the World Ends” by Britney Spears can mean different things on different days and despite the hollowness of a lyric, it may strike you in a way that doesn’t make just your day but your life. What I have below is a non-conventional list of the music I adored in 2011. Some of it is cool, some of it’s not but at the end of the day, my advice is to not let the taste makers define your music experience, but rather your heart. So without further adieu, my ten favorite records of 2011;

Number One: Patrick Stump – ‘Soul Punk’


Patrick Stump’s Soul Punk is an extension of his very soul. Besides writing and producing the entire album, he performed every single instrument on it. If that isn't enough for you, he footed the bill for the entire project signifying how much he believes in these songs. This isn't an ego trip but a reflection of an artist in the truest sense of the word. Stump is a virtuoso who wanted to do more than simply step outside of familiar terrain but was hell bent on reinventing himself in the process. Despite winding tales of quiet menace and despair, the album's finest tracks ignite your inner spirit. "Coast (It's Gonna Get Better") culminates the ten song journey on an affirmative note with a repeating chorus that invades your mind while "Spotlight (New Regrets)" is a hymn of empowerment. Soul Punk is a triumph in pop production where Stump's forthrightness turns an agnostic into an advocate; he expands the pop spectrum in a way few of his contemporaries would even dare. No record released in 2011 better exemplifies the world we live in. Despite numerous warning shots to the soul, its melodic throb infects the listener. From self-empowerment to infidelity to despondency to addiction to hope this record is bursting with life lessons. Patrick Stump's Soul Punk isn't just a daring and revelatory detour but the bravest and most remarkable album released in 2011. Patrick Stump has crafted ten exquisite songs which illustrate an artist who has and continued to experience ache and uncertainty, yet his unrelenting belief in himself ignites not just his soul but his music as well. There is an acute awareness of reality here and it lifts the album to another plane where pop music rarely resides.
Read the full review HERE


Number Two: Robyn – ‘Body Talk’


I’m cheating here, but for good reason. I mentioned Robyn’s EP’s in last year’s “Best of” list and yet I never fully embraced Body Talk until this past year. The actual album (which houses exclusive songs and mixes) was released in December of 2010 and I spent all of 2011 listening to the record (and the aforementioned EP’s). Robyn invades your body, mind and soul with pensive lyrics and euphorically charged dance grooves that are engrossing. Body Talk spins around your mind and your feet. She does for the dance floor misfits what Springsteen does for the blue collar steel worker; she encapsulates their existence perfectly with songs about dreams amidst a lingering atmosphere that could lead down to either the road of redemption of the hell of heartbreak. Body Talk is a personal triumph; a rare synth-pop record where it’s equally danceable and emotionally devastating.


Number Three: Adele –‘21’

Nothing needs to be said about 21. The voice, the pining, the heartache and the exuberant arrangements have made one of the most enduring albums of the decade. It’s funny how record executives complain about how the internet ruined music, and yet 21 was released in the UK one month before it was in the US and yet piracy is a non-issue here. There was only one music video for the first eight months. The tour was limited to smaller venues. Her interviews and award show appearances were minimal. Every rule that big music management has laid before its clients to ensure monstrous record sales she turned down. So how did this record sell over ten-million albums (and counting)? Its simple-the music. It’s raw, real and incredibly well crafted. Let this be a lesson to the music industry everywhere, it you create a record that is top-to-bottom great and feed not just your imagination but your soul as well, people will want to not just steal or stream it, they’ll want to own it so they can feel closer to the music.

Number Four: Jo Wymer – ‘Living With Scars’
Listening to Jo Wymer's debut CD Living with Scars is akin to having a cold bucket of water thrown upon you as you are in a hibernating sleep but also is as warm as a fire on a winter night. She doesn't just take us inside her world, but lays out the mental secrets and personal distress which we try and often fail running from. Most of life's greatest tragedies come out of never letting go of the past however Wymer embraces her life and uses it as a stepping stone which she has risen above. Jo Wymer comes off as one who has lived life, breathed it in, learned many dear lessons and is sharing them here. The record, which covers the spectrums of rock, pop and blues, is full of contemporary clarity whereas so much music is drenched in nostalgia making us yearn for something long gone. Instead of questions and ache, there's a deep resolve in the lyrics that's sexy as hell. Most artists are fragile souls who still haven't found their groove, their inner peace or who even fully understand who they are. What makes Living with Scars such a revelatory listen is her brazen confidence with which she delivers the songs. Her voice is husky, yet sweet. It could easily overpower the arrangements but it doesn't. However she is able to remind one of such stinging emotions you can't help but be daunted. The album is a study of light and darkness as she takes us down her harrowing hallways of heartache, desire and ultimately redemption. Jo Wymer is New Jersey’s answer to Adele with a deeper well of experience and stories to draw on.
Read the full review HERE

Number Five: Lindsey Buckingham –‘Seeds We Sow’

Most people probably don’t have a desire to listen to Buckingham outside of the constraints of Fleetwood Mac and that’s a shame, because on Seeds We Sow his songwriting has reached new heights. Delivered in a dreamy foyer where pictures come alive, his lyrics find a way to steep themselves within. The devilish musical arrangements are unyielding yet memorable and above all else Buckingham proves that he may very well be at his best when he holds the dial back. “That’s the Way Love Goes” is as gut wrenching as anything he’s ever done with Fleetwood Mac and his cover of the Rolling Stones “She Smiled Sweetly” is lilting and as pure as a first kiss. Seeds We Sow is a truly top-to-bottom gorgeous record that should be the soundtrack to our dreams and desires.


Number Six: Butch Walker & the Black Widows – ‘The Spade’

The Spade is an operatic look back at Butch Walker’s life with stories and sonics that are equally abounding. Textured guitars, proverbial melodies and a monolithic rhythm section make us feel like these are songs buried in the back of our brains from another time and place. "Summer of '89" is a joyous romp you can't help but love wholly upon your first listen. The upbeat "Drunk Day", written for his father, is harrowingly endearing musically but it cuts through you when you sit back and really listen to the lyrics ("Push through the dark like that underground train") and the slide guitar reminds me of "Sleepwalking" from the 1950's even though it sounds nothing like it. It breaks hearts in two just by the guitar’s echo in its breathtaking finish. Walker’s well of inspiration is boundless as he finds a way to blend, country, rock, pop, blues and rhythm and blues into his own intoxicating concoction. Like a master of cinema who grips different styles and genres of film making with ease, Walker is an artist who is always evolving.


Number Seven: Ryan Adams – ‘Ashes and Fire’

This is Adams most straight forward record and it’s a truly alluring one at that. Comparing it to other works in his catalog is a fruitless exercise, because what we have here is an engaging record you can wholly immerse yourself in. His knack for lush lyrics is on display but the spare arrangements make the listener feel as if they are hearing his heartbeat race. The electric guitar is mostly absent in place of entrancing atmosphere of striking minimalism. If you open yourself to the spare arrangements, you discover that Ashes & Fire is a slow burning record, where the songs slowly evolve from acquaintances to friends. I proclaimed Ryan Adams the “Artist of the Decade” over at antiMUSIC a few years back because song for song no one else was as consistent or as fertile. I’m not sure if he’s ever sounded more confident or assured than he does on Ashes and Fire so for your next road trip or late night listening, dive deep with this record and discover a new friend.


Number Eight: ‘Drive’ (Original Motion Picture Soundtrack)

There is an 80's inspired synth-pop soundtrack that should sound dated but isn't. Drive is simultaneously a nightmare and a dream evoking the feeling of undying love while throwing the sick and violent nature off the real world in your face. Composer Cliff Martinez created soundscapes that echo the underlying and bristling emotions within the film. Chosen for his work on the indie break-thru sex, lies, and videotape from more than two decades back, Martinez once again delivers a score full of restraint that's icy as it is alienating. We've come to associate scores that are ostentatious, exacerbated and manipulating but Martinez has crafted a series of mood pieces that tie-in directly with the story and its characters. If you don't pay attention close enough, you may not even notice his musical touches which is truly the highest compliment I can give. Instead of a walloping crescendo of strings, Martinez compliments a hypnotizing universe in constant motion with subtlety.

The score is complimented by five songs. The opening title sequence features "Nightcall" by Kavinsky, an electronic musician from France. The marriage of music and film on these opening titles is esoteric. We're not sure where we are being taken or what roads will be traveled, but the early distorted vocals add an element of darkness before Lovefoxxx acts in contrast to the monstrous machine-like vocals at the beginning. It foreshadows what is to come. Chosen by the editor of Drive, Matt Newman, it sets the perfect tone for what is to come. "Under Your Spell" by Desire, a synth-pop group from Montreal calls to mind wistful fantasy. The music moves beyond words thus taking you into a dreamlike state. Watching the song onscreen induces a feeling of déjà vu. It feels wholly familiar but isn't. It could have been from an 80's film but instead it appears here for the first time in nearly three decades later. It houses an air of innocence and within the confines of Drive, its genre busting. The film's climax is "A Real Hero" by College which repeats itself throughout the film, notably at key transitional moments for Gosling's character. David Grellier is the driving force behind College and he roped in Electric Youth for "A Real Hero". The song is gentle yet distinctively 80's. Greillier is someone who was influenced by 1980's pop culture and created a song that is wholly original and yet has an affectionate and distinctive feel to it. From the second it penetrates your ears, it sounds like the greatest song you've never heard that could have been a long lost club cut or even a song you heard in a previous life. It's perfect in every way imaginable. The songs within Drive are not ones I would have initially paid attention to outside of the context of the film but within it they come across as soulful hymns as they root out thee character's agony and elation. \ You may not know it but Drive is more than 2011's best film; it is also the most transfixing and arousing soundtrack of 2011 as well.

Number Nine: Natasha Bedingfield – ‘Strip Me’

This record came at me from the least expected of places. Due to some clever uses of the songs within film trailers and during movie credits, I sought it out. The album didn’t even crack Billboard’s Top-100 and yet, I find it to be an elating ride down the corridors of reflection and self-awareness. This is a more defiant album than Lady Gaga’s Born This Way. It may be front loaded with greatness and even though its consistency dips towards the back half, her vocal delivery is primordial for a pop record. It’s not a showcase for her to show you her instrument but a tool she utilizes to mesmerizing effect. I didn’t feel as if I was listening to songs but someone who was expressing something. Polish and multi-layered production can’t diminish her Spartan voice. “A Little Too Much”, “Strip Me” and “Neon Lights” find the narrator bursting back to life with a sense of empowerment. It may be cliché and paint-by-numbers, but she sells it better than anyone. We view pop stars as Shakespearean tragedies. Their talent is sacrificed for the masses and dollar signs. But what if someone can articulate themselves through the sheen of the glistening pop? Natasha Bedingfield pulled it together, did it her way and through it all you hear her tenacity. At the core of Strip Me are self-empowering lyrics broken down to the most essential elements. I feel alive, indomitable and believe I can accomplish anything listening to this record. On the track “A Little Too Much” she ends the song with a poignant yet gut wrenching lyric that you hear loud and clear, “I’d rather love just a little too much”. Bedingfield casts a spell on her listeners on Strip Me where she aims squarely at the heart. I don’t just hear someone coming into their own as an artist, but someone who has grasped their inner soul.


Number Ten: Britney Spears – ‘Femme Fatale’

Femme Fatale is a collection of twelve full-bodied dance songs that clock in at a mere 44-minutes. Max Martin and Dr. Luke have created a sweat filled anthology of infinitely infectious songs dripped in bigger-than-life beats and paired with melodies so sweet they can place the listener into a pop music coma. The tempos are so heated and booming they can even make the whitest of white men hit the dance floor even if the world is not ending. It’s easy to view the first arc of Spears career as slight but since her well manicured comeback beginning in 2007, she’s surrounded herself with the best of the best in terms or writers, arrangers and producers. It’s the quintessential album for stone faced clubbing souls who really just want a little bit of human touch. These are records music purists like me should be appalled by, but the songs had the reverse effect on me; I was spellbound. The pounding “Big Fat Bass” is absorbing and further escalates the tension between her and the listener. “How I Roll” with its unremitting clapping beat and its magnetizing chorus should have found itself worthy of an A-side single and video. Ultimately Femme Fatale is both a triumph and a tragedy. Its construction is so unyielding it warrants a placement on this list, but it’s also simultaneously heartbreaking because for the music purists, it’s merely a glimpse of the potentially great records Spears could be making only if she would divulge a bit of what’s in her head and her heart.


Honorable Mention: Peter Gabriel – ‘New Blood’

Peter Gabriel may take his time with his studio records but New Blood is every bit as invigorating as his best solo work. It's a cue to the incredible vastness his small body of work possesses. There's no time frame on when he will next tour or release new material and New Blood is more than a stop gap release or footnote in his career but a bold and critical reinterpretation of one of music's greatest songbooks. Throughout both the live DVD and studio album, Gabriel's naked voice shines through on these cuts reminding us that his ghostly voice is one of rock's greatest instruments. The voice alone is enough to make you stand up and take notice. To Gabriel's credit, he didn't go for a streamlined greatest hits approach. Instead, he took the songs that benefited the most from the New Blood Orchestra arrangements and cut them in the studio. As a result, the New Blood album is an extraordinary reintroduction for much of his audience and a celestial detour for his most staunch and devout followers.


Runner’s Up (In Order):
Airborne Toxic Event – ‘All At Once’; Matt Nathanson – ‘Modern Love’; Noel Gallagher- ‘Noel Gallagher's High Flying Birds’; The Joy Formidable-‘The Big Roar’; Danger Mouse-‘Rome’; Lady Gaga – ‘Born This Way’; Tennis-‘Cape Dory’; Beastie Boys-‘ Hot Sauce Committee Part Two’; Shelby Lynne – ‘Revolution Road’; SuperHeavy-‘SuperHeavy’; Michael Monroe- ‘Sensory Overdrive’; The Black Keys- ‘El Camino’; Whitesnake-'Forevermore'; My Morning Jacket-‘Circuital’; The Horrible Crowes- ‘Elsie’; Fleet Foxes-‘Helplessness Blues’; Wilco-‘The Whole Love’; Ellie Goulding-‘Lights’; Motörhead-'The Wörld Is Yours’; Anthrax- ‘Worship Music’; St. Vincent-‘Strange Mercy’; Florence & The Machine-‘Ceremonials’; Noah and the Whale -'Last Night on Earth'; Raphael Saadiq-'Stone Rollin''; Indigo Girls -'Beauty Queen Sister'; Foo Fighters-‘Wasting Light’; Foster the People-‘Torches’; Avril Lavigne-‘Goodbye Lullaby’; Miranda Lambert-‘Four the Record’; Pistol Annies –‘Hell on Heels’; Alice Cooper-‘Welcome 2 My Nightmare’; Feist-‘Metals’