Album Review- NewDad- MADRA

NewDad is one of my favorite bands in recent years. I first heard of the Irish band when Johnny Marr championed them in Uncut magazine. 

That Marr would like the band (and the band would listen to Marr) is pretty obvious. 

I do admit that I was a bit afraid to see if the band would survive that initial excitement. 2021s six song Waves EP was followed by 2022s five song Banshee EP but nothing came out in 2023 except three songs released to streaming. 

Reaction to the new debut album Madra is mixed at best and I am not quite certain why. Perhaps because the novelty is gone three years later (or the hype was too much to overcome). Perhaps the spot-the-influence shoegaze tinged dream pop that pulls from New Order and the Breeders doesn’t exactly turn the critics on. 

Madra may not be a perfect album and one could argue that changing out a few songs from the two EPs would make it a stronger debut, but I can’t imagine anyone who loves this kind of music would find any disappointment at all.

 

Album Review- New Model Army- Unbroken

 I loved New Model Army from my first listen in the 90s. They had already released their masterpiece album (1989s Thunder and Consolation) and a signature song (1986s “51st State”).

Their music was rare to find in American record stores. Their tales legendary. The American Musicians’ Union banned them from touring the US due to “no artistic merit” (though likely to the sentiment of the aforementioned single). Diehard fans attended concerts wooden clog footwear.

They are easy to categorize into the post-Clash political punk movement though stylistically Justin Sullivan’s goth style vocals and the bands anthemic hard rock/ near metal presented a sound that seemed like a commercial breakthrough was possible. (No shock that the people I knew who loved the band were also big fans of Sisters of Mercy). Even to the point that Sony/ Epic Records signed them for 1992s Love of Hopeless Causes record.

It wasn’t to happen (Apparently, the first single “Here Comes the War” came packaged with instructions on how to build a nuclear device). The band (mostly Sullivan and the same supporting cast since 2007) has remained consistently good.

While they remain to exist outside mainstream media, they are much loved by the punk community and their recently finished trilogy of albums- 2013s Between Dog and Wolf 2016s Winter and 2019s From Here are highly venerated in the fans’ and critics’ circles.

The band finished 2023 with Sinfonia- a live album that builds on the bands anthemic hymns by pairing up with the Sinfonia Leipzig Orchestra and a deep dive into the bands catalog - featuring a few of their standards and some unexpected selections.

2024s Unbroken doesn’t change the formula (no one would expect otherwise) but it does double down on some of the bands harder rock and more epic speaker booming sounds. For new fans of the band, it’s probably a better introduction than From Here.

The Production is a little more aggressive. Advancing Age suits Sullivan’s voice as a positive. I haven’t found that takeaway late career song on here as I have throughout - 2000s Orange Tree Roads and Autumn and You Weren’t There (both from 1999) are songs that rank to me with decades now old favorites like “Vagabonds” but they definitely have some in that mood here like “Language”

New stuff from Hutch Harris (The Thermals)- Clear Rivers

One of my favorite bands of the last 20 years is the Thermals. 

I loved them from pretty much the first listen off of their 2003 debut More Parts Per Million. They made 7 studio album through their tenure ending in 2016. The band comparison that probably showed up the most in reviews was the Ramones but I would say more accurately- They are in the lineage of Lo fi heroes Eric’s Trip and peers Mountain Goats and of course, if we must, the Ramones simplicity but with a mix of Buzzcocks Pop punk and Talking Heads art rock. 

The Portland band spent much of its life as a trio with singer guitarist Hutch Harris and bassist/drummer Kathy Foster as the core of the band with six other people in service of the band (of these, most notably original drummer Jordan Hudson and Westin Glass, their drummer for the last decade). I don’t think any of their albums are bad. 2006s The Body, the Blood and the Machine perhaps their epic work. I was lucky that even though my concert going slowed, I did see the band live. The band took to social media in 2018 to announce their break up- their last album - the well received and appropriately named We Disappear. I haven’t heard from them since. 

At some point, recently I was in a Facebook group and lamenting and celebrating the band, when someone asked me if I was following Hutch’s solo career. Wait, what? I find out not only Harris has a solo career but a pretty prolific one at that. Harris has two solo albums since the Thermals broke up. One is 2018s Only Water- the other a compilation of pre- Thermals songs called Old Lost Days. Additionally, 2015 saw a wide release for Hutch and Kathy - a pre Thermals album recorded by Harris and Foster and more early Harris recordings are available under the band name Urban Legends Foster has also been busy. Spotify lists Roseblood as a project that may be ongoing that has been listed as being primarily her work but only lists a single . She had been playing drums for twee poppers All Girl Summer Fun Band while working concurrently in the Thermals Hurry Up is a trio with Foster and Glass that have a 2022 album. Wiki lists even another Foster project called Butterfly Transformation Service but info is pretty limited to a small comment on Discogs. 

The biggest Post- Thermals project might be Clear Rivers - Harris fronted trio (with Hudson on drums). The band self released their debut self titled album in April of 2023. Best Coast frontwoman Bethany Cosentino went viral last December for a TikTok video that spoke to many things but calls out that the media tends towards the new thing and the established thing and hurts veteran performers. For sure, Spotify shows the Thermals have 98,000 listeners a month but all of the other acts I have mentioned seem to top out at around 300. 

To be fair, Clear Rivers is missing Foster’s energy but is still a decent album - a bit closer to the more introspective moments of the late Thermals career. Also I did see that Harris has embraced the post-Cameo world of social media and will perform requested songs on Instagram for $25 (he has done 150 cover songs and counting) 

 

What I have been listening to : Van Morrison - The Bang Collection

 I haven’t written about Van Morrison, so here goes. When I was coming of age, music critics were male and white and usually so were their favorite records. Moondance and Astral Weeks were considered some of the best albums ever, and I have to admit that the moment I listened to them, I had to concur.

Morrison like many of his peers was having a bit of renaissance in the late 80s/early 90s. Rolling Stone and everyone else feted 1988s Irish Heartbeat (his collaboration with the Chieftans) and my local radio station played the heck out of “Real Real Gone” (a # 18 placing on the US Rock Chart) from 1990s Enlightenment.

The 90s were good for his songs. Rod Stewart and John Mellencamp had big US hits with “Have I Told You Lately” ( # 5) and “Wild Night” (# 3)

Morrison’s records have always been events even with the weird misstep of 2021s “Latest Record Project Vol 1” with an “old man yelling at clouds” kind of song titles like “Why Are You on Facebook” and “They Own the Media”

Now when it comes to listening to music, I get my ideas from different places but friends’ references are still near the top. Which is where I first heard of the Bang Collection.

It contains recordings of Morrison that had become Van’s 1967 solo debut Blowin Your Mind- that album contains perhaps the most evergreen of pop songs “Brown Eyed Girl”, and a second disc of outtakes from the same sessions. Now, Van says he didn’t expect these recordings to be released as his solo record and because they did without his knowledge, he felt he couldn't trust producer Bert Berns and Bang Records.

It is the third album of the Bang Collection, though that is the part most people talk about. Morrison recorded an album worth of songs to fulfill his contractual obligation. The songs are mostly fragments pulled off the top of Van’s head and played on an out of tune guitar.

There are songs that only seem to consist of silly noises (Chickie Coo) silly lyrics (Scream and Holler and a half dozen of its variations) and just silly (Blowin Your Nose, You Say France and I Whistle, Want a Danish?, Ring Worm). If Van didn’t want anyone to make money off his record, he was trying his darnedest to make sure of that. (Morrison biographer Ryan Walsh compares the album to the lo-f simple music commonly made by outsider artist Jandek)

And now of course, almost 60 years ago, the audience says “Jokes on you. We are into that”.

And lest we think that Van was just being contrary, Neil Diamond had the same issues with Berns and as the story goes after Bern’s’ untimely death, the Bang label was ran by mobsters.

But these often bootlegged recordings of Van banging out 32 songs in an hour- are now part of a 2017 official release.

If you want a nice story and sample check out the episode of Bizarre Albums podcast that focuses on the record.

It also explains some of the inside jokes of how Van felt about an album being released (Blowing Your Nose" a riff on "Blowing your Mind") the silly dance songs (reference to Berns hit “Twist and Shout”) and the saga of George who goes to Boston to record (as sang by George Ivan “Van” Morrison)

I am not a huge fan of podcasts, but I often check out the Bizarre Records podcast (the brainchild of Emo band Motion City Soundtrack drummer Tony Thaxton) - it isn't perfect, usually skimming the surface of its topics- but it can’t beat it for the fascinating content and a brief listening time (usually 15-20 minutes an episode)


Anyway, thanks to the friend who turned me onto the album. I have got a real kick out of listening to it.

Album Review- The Beaches- Blame My Ex

As a teen in a rural area, instead of cable, we had satellite television. Because of this, I was often watching MuchMusic- the lower budget higher fun Canadian version of MTV The thing about watching Canadian programming and their content rules was finding some very talented Canadian artists. Equally, it was often puzzling to see a band be huge in their home country and have negligible impact in the US. There are dozens of bands that I loved at this time that fall on the spectrum of breaking big in the States to moderate success to almost no breakthrough. 

I can list off a whole string: Barenaked Ladies, Cowboy Junkies, TPOH, Moist, Tragically Hip, Blue Rodeo, Grapes of Wrath, Moxie Fruvous, Northern Pikes and many others. My stock in trade is alt-rock but it extends to Canadian only jewels from pop rapper Maestro Fresh Wes to glam metal bands like Haywire and Slik Toxik to blues rocker Colin James to legendary Canadian icons like Kim Mitchell and Stompin Tom Conners. 

Fast forward to the 21st Century and I am discussing Sirius Satellite Radio with a friend and he says I have to check the Canadian alternative rock station. It’s a Canadian heavy version of Alt Nation called the Verge. And I am taken aback. Again, some very talented bands dominate, they are radio friendly and yet, unknown here in the States. I have three favorites- Black Pistol Fire- alt rock a la Black Keys or Queens of the Stone Age, quirky songwriter Dan Mangan and female Toronto based four piece the Beaches. The Beaches (like Black Pistol Fire) are definitely trying as they seem to be consistently touring in the US and grabbing spots on big name musical Festivals. 

The Beaches played Lollapalooza last year and while at Applebee's ( don’t judge) I heard “Blame Brett” on an alt station in a batch of songs on a playlist with the new U2 single. I have to acknowledge that the Beaches are probably the last band in the world that I think I would like. 

I totally hate pop-punk (in the post-90s definition of the term) and that seems to be their stock in trade. It’s a “TikTok” record. Its a breakup record (Brett is Emmons of another one of those Verge bands Glorious Sons) Yet maybe I am miscategorizing them which is why reviews tend to mention 90s buzz bands like Veruca Salt and Hole instead of say, Paramore or Fall Out Boy (or they instead reference 80s New Wave or the early 00s NYC scene)- y'know, the stuff that I like Anyway, they are infectious and I can’t believe they have not blown up in the US. Even with an earworm like the (near) title track of second album Blame My Ex (or equally catchy 2019 hit “Want What You Got”), I think you need to listen to the records to see how talented they really are.

Book Review- Mississippi Nights: A History of The Music Club in St. Louis

This is my book review for Mississippi Nights: A History of The Music Club in St. Louis by Garrett and Stacey Enloe (The musical selection is from They Might Be Giants compilation Venue Songs which is pretty much what the title says- and appropriately enough, TMBG was the penultimate concert I saw at Mississippi Nights) Mississippi Nights was a nightclub in St Louis that closed this month 17 years ago. Because it’s the nightclub I most associate with youth as well as probably the one where I saw the most bands, it is my ideal layout for seeing live music. Having been to many venues now, though I still stand by that Then perhaps it just was, it entertained every genre of music and was both intimate and big enough for most national bands. Its parking lot the only place I can think of where I got into a fistfight as an adult. I was shocked when the place was closed down to make room for a riverfront Casino space. I mean I understand, and even now, I am a bit shocked and disappointed all these years later. The Enloes’ book is the tribute the club needed. A colorful coffee table book filled with anecdotes and ticket stubs. It is near perfect in that its main issue is that it could just go on forever with stories. As it stands, it’s probably the perfect size. The story of the St Louis music scene is woven throughout in a fair amount of detail. Author Garrett Enloe has a very vanilla taste of FM Rock bands, but is smart enough to fill in some of the other genres with guest contributors You will find unique stories throughout about Michael Stipe, Nirvana, Melissa Ethridge, Public Enemy, the Police and others. It is the nostalgia rush I needed. There’s also a reference of bands who played (I am pedantic so I noticed a couple of misses but it’s still nice to have). I saw a wide variety of bands there - Cramps, Ramones, Gwar, My Life with the Thrill Kill Kult, Type O Negative and it was nice to see some of those names referenced. My prime concert going years were 1993 to 2002 but the club ran from 1976 to 2007. The scope of a book like this is it likely won’t appeal outside of the St Louis area (I know there is probably a small secondary audience of people who just love musical venue history) but the club surely had the kind of impact that if you lived in the region and went there, this book will be meaningful And if you do fine the club meaningful then this book nails that memory. I would love to see a sequel though it would be pointless (this is the book to own) though there’s still probably enough St Louis history, the Enloes could find other routes to explore

My 20 Favorite Albums of 2023

 Best is subjective so how about we call this the list of my favorite albums of 2023 - check them out

The Baseball Project- Grand Salami Time (Omnivore). Come for the Buck/Mills/Easter reunion, stay for the songs about Mark Fidrych, Jim Bouton and Sadaharu Oh 

The Bomboras-Songs From Beyond (MuSick) Rob Zombie championed horror surf band returns after 25 year hiatus 

Zach Bryan - self-titled (Belting Bronco/Warner) Hot buzz country artist makes album worthy of the buzz

Bug Club- Green Dream in F# (Bingo/We are Busy Bodies)  if you want to argue this is a 2022 release (it got its larger label and Bandcamp releases in April of 2023) then substitute it for one of the other two releases of theirs that came out this past year

Maher Cissoko - Kora World (Ajabu!) The prolific master of the 21 string West African instrument draws from history for this meditative work. 

Crocodiles - Upside Down In Heaven (Lollipop) Rejuvenated by their 2021 cover EP project, the band finds the melodic side of their Jesus and Mary Chain style noise rock. 

The Damned- Darkadelic (Edel/EARmusic) Building on the promising 2018 reunion Evil Spirits, with Paul Gray added as a cowriter for four tracks, the band hits its nearly 50 year career potential 

Galen and Paul - Can We Do Tomorrow Another Day (Sony) - Sea Shantys,Ye-ye Pop and romantic ballads hardly seem to be the expected from The Clash’s Paul Simonon and prog royalty Galen Ayers but this one is hard not to like 

The Gaslight Anthem - History Books (Rich Mahogany/Thirty Tigers) - Rejuvenated by a near decade hiatus, the band returns to Springsteen inspired Heartland Rock with actual Springsteen included. 

Gorillaz- Cracker Island (Parlophone/Warner) Now an eight album institution, more simple than ambitious, their best album in awhile.  

HD Harmsen -Glaciers (Strawberry Jam Jams) Veteran of the glory years of the Ames/Des Moines scene (2012-13), Harmsen returns with a quirky Shimmy Disc style pop record. 

Mick Harvey and Amanda Acevedo - Phantasmagoria in Blue (Mute) - Australian goth country icon Harvey teams with actress Acevedo for an album of more perfect goth country. 

Inna De Yard- Family Affair (Wagram) - Third album from Jamaican collective that mixes reggae legends (this time Keith and Tex) with new talent. 

Jim Bob- Thanks for Reaching Out (Cherry Red) - Clever social commentary on third album of former Carter USM main man’s trilogy that started with 2020s Pop Up Jim Bob

Don Letts- Outta Sync (Cigale/Cooking Vinyl) - Filmmaker/Clash colleague/Big Audio Dynamite cofounder releases his debut which is a fun producer party record.  

Lydia Loveless - Nothing’s Going to Stand in my Way Again (Bloodshot) Loveless continues to be one of the best songwriters on the planet. 

Metal Marty- Greatest Hits (Acetate) A de facto Supersuckers album from the band’s guitarist brings the old fashioned rock n roll

Theory of Ghosts-EPs 1 and 2 (Theory of Ghosts) - Ex Piano Magic main man Glen Johnson delights with a mix of slowcore and Bunnymen style alternative rock

The Ventures- New Space (Hi-Tide). Essentially a Ship of Theseus band led by producer/long time member Bob Spalding that captures a modern version of the Ventures sound as close as could be possible 

WITCH- Zango (Desert Daze) Jagari Chanda has relaunched the 70s Zamrock legends with a sound that equally recalls their classic songs and a modern sound. 

And one bonus pick

Gentlem3n- Mochyn Dall (Kinder Gentler) I can’t have an impartial opinion about my friend Jesse’s love letter to 90s Champaign scene

Album Review- Vince Clarke- Songs of Silence

 Do we all agree that Vince Clarke is probably the icon when it comes to synth pop. You likely know the story - cofounder of Depeche Mode, two incredible albums with Alison Moyet as Yazoo, detours with the Assembly and VCMG, bunch of remixes and probably most notably, the other half to Andy Bell for nearly 40 years now in Erasure.

Songs of Silence is a 2023 solo album (as far as I know, solo debut)by Vince Clarke with Clarke paying all the instruments. It is a Covid album of you want to call it that - recorded during that period with the pandemic a major influence explicit in the sound.

It’s not a dance record or synth pop in the terms you most recognize that term.

It is an ambient work for lack of a better description and it is very good.

No doubt Clarke is a bit of a musical genius, and the album being practically wordless makes it a normally tough sell for me. But like some recent solo works by other synth trailblazers - Martin Rev, Chris Carter, even JG Thirlwell- it is not a throwaway. (Like every other review, I can’t help but add the quote from Clarke that it was even a bit too drone-y for his cat, who departed the sessions)

Blackleg is a particularly strong moment. The Guardian describes it as so: an emotional hinge to this largely wordless album, setting a scab-bashing miners’ song from 19th-century Northumberland to a pitch-dark chasm of drones. “Take yer tools and yer duds as well, and hoy them down to the pit of hell,” sings our uncredited union man, “down you go, and fare ye well, you dirty blackleg miner.”

Album Review- Madness- Theater of the Absurd Presents: C'Est La Vie

Madness are a bunch of things. In the US, a one hit wonder with one massive evergreen song. For ska bands, an influence. But in many ways, maybe best known for their Britishness. This particular style that somehow doesn’t translate to America- like the Kinks, the Fall, Roxy Music, the Jam, and Blur, to name a few. Like nearly every band of their era, they now have two segments of their career. By the time I had became a fan, it was the mid 80s and the band was making unremarkable albums for Geffen. 

If you are an American like me, you likely picked up 83s self titled album which was if not quite a greatest hits (92s Divine Madness would do a better job of that), then definitely a premier sampler of their music. Regardless, the band had a great set of singles. 22 songs charted in the UK Top 20. The band reunited in 1999 with the Wonderful album and added five more studio albums since. The band is often ambitious and nearly all of their work has been critically acclaimed. My favorite of these is probably the least acclaimed but I love their 2005 covers album The Dangerman Sessions Vol 1. Uncut gave it a devastating 1.5 stars out of 5, though the accompanying review seems to suggest it’s a worthy album. 

After a soundtrack celebrating the bands career- 2022s Get Up- November 2023s Theater of the Absurd Presents: C’est La Vie is their most ambitious album in years- a concept album of sorts about England and about the band that lines up with that Kinks influence. And like the Kinks, an albums “concept” doesn’t really matter if the songs aren’t good. Early Madness records effortlessly captured the Nutty Boys but the Geffen records sounded like a forced formula. 

 C’est La Vie is a fun album that references previous points in their career. It captures that pop sound you hear on their classic singles. I am not sure that any of the songs measure quite up to the classics, but Madness fans should be happy

 

Album Review- Graham Parker- Last Chance to Do the Twist

I am happy to finally getting around to writing about Graham Parker. 

Parker was a much critically acclaimed musician when I was becoming a fan myself in the 80s. 

Like Elvis Costello, he had several good albums, so multiple albums would show up on Best Album Ever lists- it could be 76s debut Howlin Wind, 76s follow up Heat Treatment or the general consensus (and my favroite) 79s Squeezing Out Sparks. Parker never quite crossed over like Costello (or Joe Jackson), despite some attention and minor hits (1985s Wake Up Next you You and 1988s Get Started, Start a Fire barely denting some charts), he mostly remains a bit of a cult figure. 

By the time I got to him, his contemporary work was getting mixed reviews- 88s Mona Lisa’s Sister and 91s Struck by Lightning It worked out well for me then that Parker’s oeuvre got well represented with 93s Passion is No Ordinary Word anthology. 

I never obsessed with Parker as I might have with Costello but here was a career where there certainly are enough gems (like another contemporary Nick Lowe) in with some rubble - it is a pretty solid condensation of a career. By the end of the 90s, I was still chasing after Parker though media attention was fleeting. He had released 14 albums when I last had followed him with 96s Acid Bubblegum (which didn’t include his numerous live albums- at least two being treated as major works) Parker had always been prolific and he has remained so, though he has slipped under the radar in a way that Costello (or even Lowe or Jackson) never did. 

I was never going to be surprised if he did resurface in a big way and 2023s Last Chance to do the Twist was a minor explosion- getting tons of buzz in a brave new world of social media conversation and online alternative broadcasting options. “Twist” is a fun record of a veteran songwriter having a nice late career resurrection. 

Album 23 by most counts of a 47 year career Is it one of his best works? I would hesitate to go that far- it's a pretty solid, though not outstanding record- but I wouldn’t argue if someone thought so. There are some highlights for anyone plotting a career anthology. It is a perfect bookend (hopefully new launching point) for a reappraisal of a real talent. It is also ironic that the man critics always called the 'angry young man' always struck me all his career as a cranky 73 year old, he is only reaching that age now. 

Even in its weird moments though -they aren’t out of place - a love song to Cannabis, the reggae rap of Dem Bugs, the Spanish Inquisition joke in Wicked Wit. Though I would not say its his best work, I think this is the comeback we all hoped for, and fans of his previous albums will be plenty pleased. (If you want the late period Parker classic album in my opinion- I will put in a suggestion for 2007 Don’t Tell Columbus but you may have to wait a bit for that story). 

 2023 - Big Star Records

Album Review- The Gaslight Anthem- "History Books"

I fell in love with the Gaslight Anthem from the first listen which was 2007s Sink Or Swim, though if was probably 2008 when I heard it, just prior to their bigger introduction to the world - The 59 Sound.

The Gaslight Anthem are a band that you probably love or find annoying. They put their influences all over everything- The Clash, Miles Davis, Tom Waits and so on. The best comparison has always been Social Distortion - a modern after-punk updating of an ideal 1950s of greased hair and motorcycle gangs. But of course, musically , the bands aren’t really that close.

Where Social Distortion pulls from late 70s Hardcore punk (Frank and Rikk Agnew were in an early lineup), The Anthem sound like they were listening to Springsteen, Petty and the many Springsteen clones of the same time period.

I may or may not have realized it but it became clear around 2010 that the indie rock scene had a heavy Springsteen influence - Arcade Fire, Hold Steady, Titus Andronicus, Against Me!- and if I hadn’t noticed it, I was listening to the Sklar Brothers when they pointed it out.

I was a huge fan of Springsteen and 90s Indie Rock and the two did not really mix together. He was still very much one of the most newsworthy artists of the day- certainly not very “cool”. That the indie scene finally caught up with him isn’t surprising

It’s clear that the Gaslight Anthem and the aforementioned peers grew up listening to say, the Replacements, the Pogues and Billy Bragg and Bruce wasn’t a left field choice. (We know GA has covered Pearl Jam and Nirvana so they very much of their age).

There seems to be an almost mirror like quality for Springsteen and Joe Strummer. Both representing this artistic hero of the working class and the oppressed. If Bruce did climb to the charts, he had got there by being adored by The Ramones and Patti Smith.

The story of the Gaslight Anthem (my version) mimics another Springsteen following, the Killers, insomuch as they debuted with a fresh sound but seemed to be grinding to diminishing returns over time, calling it quits (or nearly quits) and finding their way back to revitalize themselves.

In the case of Gaslight Anthem, the 59 Sound is probably where everything works, but subsequently over time, we arrived at their 5th album - 2014s Get Hurt and its hard to see where the earnest populism stops and Bon Jovi style arena rock begins.

In this case, the band went on hiatus and Brian Fallon worked on solo projects. Fallon’s solo stuff is pretty good and he blended a few influences but worked on honing those songwriter skills.

It’s a similar story to the Killers who followed a similar path and then seemed refreshed when they came back. When the Killers came to their seventh album, 2021s Pressure Machine - they made one of their best albums yet.

Pressure Machine was ambitious and clearly an attempt by that band to make their Nebraska or The River.

I am not sure Gaslight Anthem’s 2023 album History Books is any more ambitious than anything else the band has done, since they always have written anthems, but a few songs do feel particularly “heavier” and literate.

It is indeed a much better album now that they have come back after being apart than their previous two records. And Hearland Rock was always in their mix, but yes “History Books” and “Michigan 1975” do feel particularly deep.

The sound seems to cut the middle between the bands standard anthem fare and Fallon’s mellow bluesy side - which works well. I run counter to a review I read that says this wouldn’t be a good starting point for the band, as I feel it probably would.

There is a particular crunch on the record that is more in line with their last record than Fallon’s solo work. Peter Katis produces (The National, Interpol, Frightened Rabbit)

Of course, you can’t talk about the Springsteen influence without mentioning Bruce is actually on the title track. Yes, the “circle of life”- Bruce actually encouraged Fallon (the story goes) to get the band back together and write a duet for the both of them.

“History Books” probably doesn’t need Bruce. Fallon starts the song and his style isn’t that much different. Still, if you can get Bruce, then you do. It fits as an homage, a passing of the torch or whatever you want to make of it.

A decade ago, Gaslight Anthem felt like one of the most exciting bands on the planet. History Books brings that feeling back.

Album Review- Tribes "Rabbit Head"

Baby, the 2012 album by Tribes is one of my favorite albums of the last twenty years. The band were born out of the Britpop buzz diet of Pixies, the Smiths and the Clash. A mix of youthful energy and Marc Bolan-inspired vocals- the band seemed picked from the early heyday of Suede and Supergrass (and championed by Frank Black) 

The problem with drawing from that pool is found in reviews like Allmusic which mentions several bands in comparison- Nirvana, Razorlight, Oasis, Blur and indeed Pixies, T Rex and Suede. Allmusic also slights them with a three star review of the debut which would put it on my list of #unlovedmusic 

Tribes has a very common band template. Buzz debut followed by second album then label drop (Island Records in this case). The difference is that they now show up ten years later as if it was business as usual. 

Both 2013s Wish to Scream and 2023s Rabbit Head fall short of the debut. But they do contain three or four killer songs that make them worthwhile.

Songs like “10 Ways to Improve Your Life” and “It’s All Borrowed” are nice adds to the catalog with guitar crunch. There are some missteps like where they try to get clever with “-Ism” or lean into Yard Act-isms.

But of course they are best at those Suede-like swoops like “Hard Pill” and “Dad I’m Not A Tough Guy” and the all out “Medicine” I won’t pretend there’s a lot of nuance here. 

You are probably going to know right away if you like this or not. It’s not going to “grow on you” after time. It’s a blast of energy and if you long for the days of the Libertines, the Fratellis and the Kaiser Chiefs, then enjoy.

 

Album Review- Maher Cissoko- Kora World

I fell in love with Maher Cissoko on 2021s Cissoko Heritage - an Uncut Magazine pick of the month. 

I probably won’t be able to do him justice, but in plain terms, the Senegal-born Cissoko and his family are among the most prominent players of the Kora- a 22 string East African harp that has a tradition stretching back 700 years. 

Cissoko is fairly prolific, releasing solo albums as well as with his wife Sosou. 

It is a failing of Western mainstream culture that non-Rock music gets bundled into one category- whether it is Brazilian Tropocalia, Cameroonian funk or Indonesian pipe music. 30 years ago, it was called World Music, these days the broader “international” banner. 

I admit I have “rock ears” so what draws me most to Cissoko is the guitar-like style of the Kora matched to his vocals and sense of melody (he’s not afraid to blend in reggae, rock and hip hop sensibilities either) which result in some of music's most plaintive moments; while others may like his work for its meditative properties. 

Admittedly, in the current music environment, the latter may be the bigger commerical draw. 

While Cissoko Heritage was probably more of the former, 2023s Kora World leans a bit heavier on the meditation. Neither album would be a bad introduction to the music of Cissoko. Check them out