Album Review- Iggy Pop- Every Loser

I feel like the last two thirds of Iggy Pop’s 50plus year career has been “comeback”s. Maybe that is the way it works for any long time artist. He has had some high points of course. 1993s American Caesar and 2016s Post Pop Depression felt like late career capstones. 2023’s Every Loser feels every bit of a marker of where Iggy is going next. I have read a few reviews that suggest that it’s every aspect of Iggy’s career covered in one album. It’s certainly more catchy than 2019’s Free- a Pop into poetry, jazz and atmospheric introspection. In many ways, it’s hard not to compare Every Loser to 1990s Brick by Brick. That album paired Iggy with a big time producer (Don Was) and a bunch of stars- Slash and Duff from Guns N Roses, John Hiatt, Kate Pierson, Waddy Wachtel and Kenny Aronoff. Every Loser is produced by Andrew Watt (Justin Bieber, Miley Cyrus, Ozzy Osbourne, Eddie Vedder) and features an all star list of rockers- Dave Navarro, Eric Avery, Stone Gossard, Taylor Hawkins, Travis Barker, Josh Klinghoffer and once again, Duff McKagan Iggy has done the rock star cameo thing before with 2003s Skull Ring with Green Day, Sum 41, and Peaches. Though there are as many opinions as fans, I consider Skull Ring one to skip. Every Loser does have some of that “big, dumb” rock that Iggy is known for, but Watt generally knows what to do here. There’s no great single on par with the best songs off Brick by Brick but the album holds together. Opener “Frenzy” and “Modern Day Ripoff” get closest to the mark as the kind of rocker Iggy made in the 1980s. If anything, the album reminds me of 1999s Avenue B. Not necessarily sonically- though it does at times share some characteristics of introspection and occasionally slowing down especially on songs like “Morning Show” and those two tracks labeled as “interludes” But Avenue B was an album that at first few listens felt like it would be one of Iggy’s better albums, but it didn’t really hold over too much over time. I doubt Every Loser will float to the top either. Watt is a positive but also a bit of a negative too. If Iggy really wanted to shake some listeners, he is a bit polished here. Closer “Regency” is the most discussed song here and it probably should be, as it feels like what the album is building to. It’s also a pretty good example of the album. It is very ambitious, and yet feels like it falls short. It’s full of profanity. Musically, it is the closest to 80s and 90s Iggy, which is notable considering some of his recent detours. Neither the song nor the album are the type of quality that gets mentioned in the obituary. Yet, that isn’t to say it’s not a good album. Album tracks like “Strung Out Johnny” and “Comments” are amazingly strong despite some pretty overused lyric fodder - hard drugs and social media.

Alan Rankine RIP (The Associates- An Appreciation)

The Associates are probably the last band I would ever expect to hear in my small Midwestern town. Yet, I became aware of them via two ways. One was from being a huge Smiths fan and the implication that “William, It was Really Nothing” might be inspired by the Associates’ Billy MacKenzie (and he would later reply with a song called “Stephen. You’re Really Something”.) The second being an album review in Spin magazine. These were rough times for me personally (in my mid-20s) and I would read and re-read these magazines This was also during a time where I was routinely hitting up the CD section in local pawn shops and to my shock, found two Associates CDs while doing this. One was 1990s Wild and Lonely- the bands fourth album is essentially a McKenzie solo album with collaborator Alan Rankine out of the band. It’s a bit of a completists only record that production wise, is off its time. But I also found Popera: The Singles Collection (also 1990) a collection of the band’s Greatest Hits I know that there probably is one Associates fan who will read this, so I hope to continue discussing the band without causing offense. There are a lot of similarities between the Associates and one of my favorite bands, Soft Cell. Both are duos. Both are ostensibly synth pop bands with an ear for melody, but more interested in making art over chart success. Because of this last aspect, I would suggest that they fall into a category of “love it or hate it”. It was the 80s and they weren’t the only band so strongly committed to their craft, but so committed they were, that it is hard to think of too many bands that approached them in style and quality - Besides the aforementioned Soft Cell, I would suggest Bronski Beat, Siouxsie and the Banshees, Fad Gadget, Cabaret Voltaire and a select very few others that would come to mind. Popera is what makes the Associates great in one disc. Here are the band’s greatest moments - front loaded with songs from their most acclaimed album “Sulk” along with a career of worthwhile singles and a few well selected covers like “Love Hangover” and “Heart of Glass”. The title of the compilation perfectly capturing the operatic vocals and the synth pop beat. McKenzie committed suicide at the age of 39. Since his death in 1997 (and despite little success in the US), his influence shows in big ways via songs that were dedicated to him post-mortem by musicians like Siouxsie, Bjork and the Cure. Last year, Sulk received the 40 year anniversary boxed set treatment. There’s not much to recommend social media in 2023, but a real positive is that we hear about musicians who have passed, and can celebrate their work. Last month, Alan Rankine died at age 64. After the Associates, he recorded three solo albums, produced the Cocteau Twins and played a role in the early years of Snow Patrol and Belle and Sebastian via the Electric Honey label.

Terry Hall: An Appreciation

Hearing the Specials for the first time was one of those "Lightning strikes" moments. The first few weeks of college were tough for me, but discovering new music eased things. The first Specials album is an all time great. Though I was well immersed into the British punk scene, I had missed out on the Specials. For the benefit of one person who may be reading this, I can tell you I bought this at the Record Store that used to be by Quatros in Carbondale, Illinois I had listened to the Clash, the English Beat and (album producer) Elvis Costello, but nothing quite prepared me. The album from start to finish is amazing. Terry Hall was the perfect frontman. He sang as if it was a chore, as if he was “put out” or bored (Bernard Sumner is another vocalist who sounds like this) but the rest of the band was partying around him and somehow the contrast made everything more powerful. (Wikipedia suggests that I am on the right track by telling us that the vocals were taken from two vocal takes - a "bored" one and an "angry" one.) My version of the first record is the American version which adds “Gangsters”. Both that song and its follow up “A Message to you, Rudy” are perfect songs with accompanying fantastic videos. The music axiom of breaking up early instead of carrying on like The Rolling Stones (or U2) is in play here. Somehow, Jerry Dammers walking away from the Specials has cemented a certain legacy for him, but Hall continued to make music. Like Paul Weller, fans might not appreciate the pivot to more poppy music and The Colourfield and Fun Boy Three don’t carry the same gravitas. This plays out in the disappointment that Dammers didn’t join the recent Specials reunion. Then it is to Hall (and gang)’s credit that those two records were great additions to the band’s canon. Sadly, we didn’t get the third album from this incarnation which was supposed to be reggae influenced. I can hardly think of more iconic videos than “Gangsters” even if it’s just the band. The black and white striking out. Hall only occasionally maintaining eye contact, Neville Staple being a force of frenetic energy, Lynval Golding and Horace Panter jumping around while Roddy Radiaton provides his guitar heroics, and Dammers stealing his scenes by being a bit of a smart aleck. It is probably impossible to calculate the effect the album had on American punk and ska. Additionally, think of the influence passed on in artists as varied as No Doubt, Damon Albarn and Tricky.

Tom Verlaine: An Appreciation

I am fairly certain I bought “Marquee Moon” based on reputation and I was a big fan already of the New York punk scene. Everything you can say about the album is true. I think it is fantastic. I also bought “The Blow Up” shortly after- a more messy live affair that has been packaged and repackaged quite a bit over the years. It was a ROIR cassette that showed the band’s live side -adding versions of their early single “Little Johnny Jewel” - a song as adventurous as anything the band did and covers of “Satisfaction”, “Knockin on Heavens Door” and the 13th Floor Elevators “Fire Engine”. I was becoming a fan around the time the band reunited and released a self-titled third album. I was disappointed with the album at the time, although it has grown on me. Verlaine always spoke to me. His path seemed mystical - paired with Richard Hell and Patti Smith in bringing poetry to rock music. Verlaine pops up in another of my favorite artists biographies, working with Jeff Buckley for what would have been the follow up to Grace- a great rock n roll what if. Uncut featured Television a few months ago. Apparently, rumors of a fourth album are an annual occurrence with the possibility of actual recordings as anybody’s guess (Richard Lloyd having checked out of this conversation many years ago) Little Johnny Jewel is also the first track on the fantastic 2015 Ork Records: New York New York compilation

Jeff Beck: An Appreciation

There’s probably not a lot to add about the late Jeff Beck but I feel like I should say something. I am going to start with High School. I read Guitar player magazines and Beck was one of the highest regarded of all. I even bought his 1989 Jeff Beck’s Guitar Shop album. Now, I would say his instrumental guitar jazz fusion music wasn’t for me. I don’t know that I would reach out for Blow by Blow or Wired- the two classics of the genre. But it’s a ‘me’ thing, I absolutely get it. I appreciate it, but I probably wouldn't pick it out to listen to. No, I gravitate to Beck in the Yardbirds. I still have them in my constant rotation. Over Under Sideways Down (also called Roger the Engineer) is a classic album. Again, I don’t need to educate on that. But for a moment, take another listen to 1965s Mister You’re A Better Man Than I (lead song off Having a Rave Up With the Yardbirds) Is it the first metal song? There were a few earlier (You Got Me, Louie Louie, Rumble) but there’s not many. Listen to the guitar solo at around 90 seconds in and it’s still powerful, predating the Jimi Hendrix Experience, Black Sabbath, Pink Floyd and Cream.

Christine McVie: An Appreciation

For many years. I considered Christine McVie the weak link of Fleetwood Mac. I don’t think that is a lot to be ashamed of. I discovered them in the 80s. Lindsey Buckingham is one of the coolest men on the planet. Stevie Nicks might be ‘the’ coolest woman on the planet. McVies solo releases were not nearly as rock oriented It wasn’t the Say You Will album that convinced me otherwise. (I am a fan). It is that the McVie heavy Tango in the Night has become a favorite of mine. I have spoke about this at length but while 1987 was nearing peak music creativity in almost every genre (U2, Public Enemy, Prince, Boogie Down Productions, Anthrax, Guns N Roses, Husker Du, Sonic Youth, REM, the Smiths, Roseanne Cash, Steve Earle and Dwight Yoakum all had albums of note), and Fleetwood was making some of the least adventurous music. Yet, Tango is surprisingly solid, even finding a spot in one of the more memorable television ads of the year. Additionally, the 2017 self titled album she did with Lindsey Buckingham has become a favorite I have really begun to enjoy McVies position in Mac, her various Mac contributions, the Winwood assisted “Got A Hold On Me” and so on. Whatever damage the overplayed, unpunk “You Make Loving Fun” caused, by the time of McVies death in November of 2022, I was able to realize what a real loss it was.

What I am Listening to : Rodriguez

Even though I used to watch a lot of music documentaries and these days even though I don’t watch a lot of television, I still watch a lot of documentaries, I have yet to see 2012’s Searching For Sugar Man   That documentary had a fascinating hook. Early 70s musician Sixto Rodriguez’s records had became hugely popular in South Africa, and yet in on his home country, the United States, he was virtually unknown and possibly considered deceased. My intro to Rodriguez like so many artists in modern day was via the soundtrack (in this case the Johnny Lee Miller / Lucy Liu take on Sherlock Holmes show “Elementary”) It’s hard sometimes to articulate why an artist “hits” a certain way. Rodriguez’s sound isn’t easy to describe except by saying it is of its time, 1970 and 71, during the bridge between 60s protest and 70s singer songwriter radio sound. There’s a variety of names that come to mind when I listen to Rodriguez -Donovan , Cat Stevens, Tim Buckley, Gil Scott Heron, Arthur Lee, Jose Feliciano and Curtis Mayfield. Cold Fact for me is the recommended disc- a near perfect summation of his work but the Follow up Coming From Reality has plenty to recommend it. The sequel given an air of working toward commercial success. He worked with Producer Steve Rowland (who has a fascinating career of his own - from producing Dave Dee, Dozy, Beaky, Mick & Tich and the Pretty Things and to having UK pop hits both with his group The Family Dogg and with Albert Hammond and discovering artists including Peter Frampton, the Thompson Twins and the Cure) on Coming From Reality and Chris Spedding played guitar. I don’t know why but Cold Fact really resonates me (and Coming From Reality is a good listen too). Like many of the artists I listed above, there only seems to be a limited commercial appeal (talking in terms of competition with pop music) but because of that, perhaps it is more timeless and even if it sounds of the time with its production and instrumentation, the songs hit like they are modern

What I am listening to: Billiam & Valentine's Day

I used to every year in February write about great anti-love songs. These days I write mostly about recent(ish) releases. I will split the difference today on this one Some great anti-love songs Soft Cell- Say Hello Wave Goodbye- maybe the best bitter song ever but Marc has hidden gems in his career like “I’m Sick of You Tasting of Somebody Else” Type O Negative - Unsuccessfully Coping with the Natural Beauty of Infidelity (I Know You’re F*cking somebody else) - because you usually can’t beat shock rockers for titles like this Scraping Foetus Off the Wheel- I Will Meet You in Poland Baby- Love using the Molotov-Ribbentrop Pact as a metaphor Lucinda Williams - do you go with “Changed the Locks” or “Come On” both are great Joe Jackson - Happy Loving Couples- another great bitter song hidden in a new wave anthem Marvin Gaye- Hear My Dear - a song with a story behind it The Seeds - Can’t Seem to Make You Mine- a plaintive side from the “Pushin so Hard” garage band. The Divine Comedy - Our Mutual Friend- a great story and all time favorite The Velvet Underground- The Gift - which everyone should hear once X- Your Phone’s Off the Hook (But you’re not). One of the many great X relationship songs John and Exene did so well Oran “Juice” Jones - The Rain- A template for plenty of “you did me wrong” songs Loretta Lynn and Conway Twitty - “You’re the reason our kids are ugly”. Self-explanatory Todays pick may not be a classic but it is recent. Billiam from 2022s Steakhead Breakbeats Not to be confused with the British boy band, Billiam is a Sonic the Hedgehog obsessed Australian If you listen to streaming services, it seems like there are a lot of people making this kind of music - (I have heard the scene described as “Egg Punk” bit I’d leave that to someone more expert on that than me). I’d call it “bedroom indie” or Lo-fi synth-punk or some combination that may or may not include the word “DYI” “looping” “90s indie”, “drum machine” and “garage punk”. But as if anyone can do it, there is something special, I think about Billiam in the way he hears a melody and in his unique style an production.

What I am Listening to: Lou Reed

I have meant to write about Lou Reed’s first solo album. It has a bad reputation and I like it quite a bit It would almost have to, squeezed between the Velvet Underground’s “Loaded” (perhaps also unloved but it is a Velvets album and has 2 of Lou’s most famous songs, so it can’t be that underrated) and “Transformer” is fantastic, I get it and all the plaudits are deserved. “Lou Reed” was released about seven months before Transformer. Critics complain about the production. Most of the songs are Lou / Velvets songs that have since been found in better versions elsewhere. Even the band is kind of weird- Steve Howe, Rick Wakeman, Clem Cattini (Joe Meek’s session drummer) and Caleb Quaye (who plays guitar all over Elton John’s early work). But I really like the album. Lou is now a “passed artist” and as such we as fans, hunger for any and all of his recorded work. There have been two major Lou Releases in as many years. Words and Music May 1965- early versions of songs Lou would develop for the Velvet Underground - and I’m So Free- the 1971 RCA demos which became the first two albums. I have to admit that I have not deeply delved into these records so this post is about another “unearthing” (though widely bootlegged apparently)- 2016s “Alice Tully Hall (1/27/73- second show) - a 2020 Record Store Day release. And I think it’s great. Lou is an artist maybe more than most, defined by his live albums. Rock N Roll Animal is obviously in every conversation. Live in Italy is often considered a masterpiece. Take No Prisoners is something completely different but remarkable for its own reasons. And I’m just scratching the surface. What makes the performance great is the energy of Reed at the time. For a bootleg style performance, it’s very clean - heavy on the treble. There are surprises- a bluesy Sister Ray closes out the set and might be preferable to the original. Heroin anticipates Rock N Roll Animal with jangley energy. But my favorite moments are the songs that are well worn through years of listening. I have long tired of “I Can’t Stand It” but here it’s a full of energy with the guitars jamming and Lou ad-libbing. You can say the same for “Satellite of Love” or “Sweet Jane”. The punchline of this album is three weeks from the concert, “Walk on the Wild Side” would go into the charts. Also of interest- for someone who worked with a Whos Who of sidemen in his career (Cale, Ronson, Wagner, Hunter, Wasserman, Quine and so on), he's backed here by the Tots- a short lived relationship with some Younkers teenagers with little musical experience.

What I am listening to :Gary US Bonds

 I am a huge Johnny Thunders fan. Thunders may be the punk Keith Richards who birthed a million guitarists but his career is largely a shambolic mess, but if you’re a fan, that’s kind of the point.

Weirdly, I have a couple of friends who developed much of the same appreciation unbeknownst to each other.

It’s funny but that’s what happened. A highlight of the Thunders catalog was a cover of Gary US Bonds’s song “Seven Day Weekend” sung by longtime Heartbreaker Walter Lure.

For my friend, that led him to the Waldos, Lure’s other band who didn’t record a major studio album until 1994s Rent Party. (Lure, like latter day Stooges guitarist James Williamson had a very unpunk post Rock career, in Lure’s case on Wall Street)

For me, listening to “7 Day Weekend” led to discovering Bonds, best known for a string of pre Beatles hits, the best known being “Quarter to Three”. The kind of energetic and slightly distorted songs that fall into that category of Rock N Roll Radio that the Ramones loved so much

I was also then tempted to check out 1982’s On the Line which is an album that you might have seen on Greatest Records Ever lists 25 or 30 years ago.

If it no longer makes those lists, it’s understandable why it did. It’s definitely of its time but it has a real Working Class vibe to it, and it’s probably notable to see the names on the credits- Bittan, Clemons, Van Zant, Tallent, Weinberg and Federici.

I suspect many of you should know those names, but if not maybe you would recognize the producer (sharing duties with Steven Van Zant) and songwriter (and uncredited backing vocalist where he could get away with it) Bruce Springsteen

Bonds had another Boss-helmed album that preceded it - 1981’s Dedication which had the song “This Little Girl” a single that would make it to # 11 on the pop charts.

Both records seem like throwbacks to that era with the production values chasing Springsteen’s hits but they are great rock records that harken to the golden days of rock that Springsteen was taking back to the charts. “Out of Work” was the single off On the Line and went to #21.

1984’s “Standing in the Line of Fire” returned Van Zant in the producer’s chair but did not receive much attention.

Al's Best Albums of 2022

 Arcade Fire -WE (Columbia) - Coming after the half - brilliant Reflektor and the not-at-all brilliant Everything Now, Arcade Fire has enough self confidence to make you believe again

Andrew Bird- Inside Problems (Loma Vista) Bird has had a long and extremely varied career but if you liked My Finest Work Yet, this continues to focus on clever and witty (and quirky) pop music.


Calexico- El Mirador (Anti) Calexico has been doing this for so long now that it’s hard to separate how truly revolutionary they felt. On El Mirador, they feel like they are sending a reminder to anyone who hasn’t listened to them in awhile.

The Cult- Under the Midnight Sun (Black Hill/ Round Hill). The 21st Century iteration of the Cult has been a welcome surprise. Seemingly artistically spent in the 90s, Billy Duffy’s inspired riffs connect a straight line back to the band who made Love almost 40 years ago.

John Doe- Fables in a Foreign Land (Fat Possum) I have followed Doe’s solo career from the start and while he has put out some very good records, I feel this is his first truly great solo record. It has a bit of a late 19th century motive at times and is hard to classify. I also think it benefits from being a constant trio (with a great guest list) with Kevin Smith on upright bass (Dan Hicks and his Hot Licks, Willie Nelson) and Conrad Choucron (Patti Griffin, NRBQ) on Drums.

Peter Doherty and Frédéric Lo -The Fantasy Life of Poetry and Crime (Strap Originals) It’s not so much we didn’t think Doherty could make his “Vauxhall and I” - a mature indie rock musing- we just didn’t think he would live long enough to do so. This album isn’t quite as good as 2019’s Puta Madres album which suggests Pete is still best being a rocker, but it is a fine showcase for him anyway.

Dream Syndicate-Ultraviolet Battle Hymns (Fire) We have seen a few different sides of the Dream Syndicate since they reunited. This album harkens back to the band’s debut sound of sparse Velvet Underground influences that would inspire a generation

Gogol Bordello-Solidartine (Cooking Vinyl) This album was recorded before the Russian invasion of Ukraine but of course, the themes were always part of Gogol Bordello’s music. Producer Walter Schriefls (he of Youth of Today, Gorilla Biscuits and Quicksand) finding a way to bring back the punk feel for an album that ranks as their best in some time

The Interrupters - In the Wild (Hellcat) - Ska and punk don’t usually get critical acclaim but there’s something special about the Interrupters. In this case, they are cementing their legacy by honoring the legacy of their guest list (members of the Bodysnatchers, Hepcat and the Skints)

Johnny Marr- Fever Dreams Pts. 1-4 (New Voodoo/BMG) Marr’s solo career has been quite enjoyable for fans. This was released as a series of four EPs. Overlong at 16 tracks, but the highlights more than make up for it.


Layla McCalla- Breaking the Thermometer (ANTI) - The one time Carolina Chocolate Drop and classically trained cellist makes some of the most interesting music going. This album is part of a larger Duke University project about Radio Haiti and McCalla draws in her own heritage as a Haitian American, how deeply Haitian culture influenced New Orleans and the love between Jean Dominique and Michele Montas who used the radio station to fight corruption and dictatorship and suffered for it. Which is all pretty ambitious, but the album holds up on its own.

Mystic Braves- Pacific Afterglow (5 Records) - One of my favorite garage rock revival bands that tend toward a smoother sound like the Allah Las. This chameleonic band dipped into that early 60s sound on their 2014 debut, but aren’t afraid to draw from other time periods, and this album feels like it could be an early 1970s gem with the likes of Gerry Rafferty an unexpected influence. One of my favorite albums of the year

The Ninth Wave - Heavy Like a Headache (Distiller) - Critics did not like this album which is also hurt from the fact the Glasgow duo broke up on the album’s release. Yes, it is uneven and yes, it pulls from very standard influences like Joy Divison, Echo & the Bunnymen and (if you can’t guess) Kate Bush, but the album has some great moments that fall anywhere between insular Goth ballads and soaring U2 style arena rock

Red Hot Chili Peppers- Unlimited Love (Warner) - Like Alice Cooper and KISS from the generation before, the Chilis will be doing their schtick well into their eighties. Your mileage on “mature” RHCP may vary, but it’s really John Frusciante’s guitar melodies that shine here for me

Sea Power- Everything was Forever (Golden Chariot) - Modernizing the name and reuniting with Producer Graham Sutton (leader of Bark Psychosis who produced Sea Power’s 2nd, 3rd and 4th albums) this truly feel like a relaunch for one of my favorite bands.

Soundcarriers - Wilds (Phosponic). - I wasn’t aware of this band who returned after a seven year hiatus to release their fourth album. Spiritually (if not necessarily sonically) similar to Stereolab, the band plays music that draws from baroque pop, psychedelia, garage rock, tropicalia, lounge, folk, movie music, jazz, Krautrock and other “found sounds”.

Spiritualized - Everything was Beautiful (Fat Possum) Not much stylistically different from their previous few albums, this does feel like the moment Jason Pierce has been working towards. A bit psychedelic, a bit gospel blues, and even a bit noisy (Iggy Stooge gets namechecked) and alt Country (Nikki Lane guests).

Swami John Reis- Ride the Wild Night (Swami Recordings) - This is Reis’s first “solo” album but what does that mean for someone so prolific that fhey perform with Rocket From the Crypt, the Hot Snakes, Drive Like Jehu, Plosivs, the Night Marchers and others. Like his contemporary Jon Spencer, Reis has been charting his own path for years playing raw rock n roll his way. Unfortunately, this didn’t get the attention that Spencer’s latest did which is a shame because it’s fantastic.

Tejon Street Corner Thieves - Thick as Thieves - This Colorado based band plays what they call “trashgrass”. Punky spins on Alt Country and Americana were novel 20 years ago but now dozens of band do it. So it comes down to charisma of the frontman and well, the tunes to separate the wheat from the chaff, but these guys are the real deal.

Yard Act - The Overload (Island) - “Dark Days” was my favorite song of 2021 but it’s not here. I expected Franz Ferdinand style post punk, but despite a few Lydonesque moments, it’s got more in common with the Streets, Scroobius Pip and Half Man Half Biscuit. All that aside, it is still quite a breath of fresh air

Album Review: Bruce Springsteen- Only the Strong Survive

The Onion/AV Club used to make a list of least essential albums and at first glance, Bruce Springsteen’s Only the Strong Survive feels like a modern day example. It has a lot to overcome. It is a Motown and soul covers album released after one of the most successful Springsteen albums of recent years. A good way to approach the album is by examining the Four Tops “Seven Rooms of Gloom”. I am a big fan of the band, the song is classic and literally no one can sing it like Levi Stubbs. Not even a belter like the Boss. So why try? But why not try? It’s a labor of love project. These are good songs. Bruce can bring some gravity to a song like “The Sun Ain’t Going to Shine Anymore” or the Commodores’ “Night Shift”. Critics seem to love the “Karaoke Springsteen” line and they’re not wrong. If you are a music critic (or a wannabe like myself) you can dig pretty deep on this. Wouldn’t this work better in a live context? Wouldn’t this be better fleshed out by the E Street Band instead of just with Ron Aniello doing all the work? Wouldn’t this have been better 30 years ago? Yet it’s Springsteen and if you’re a fan of his, you probably are of the mindset that there is more to rock than what a critic thinks. So it is with this album, if you can spend any time with it. Would I rather hear Diana Ross or Bruce sing “Someday We Will Be Together”? Well, my answer is Diana, but it’s a great song and Bruce sings it with passion. And you could probably have that conversation 15 times. This album is likely to be one that leaves sound systems in a few months, but who knows - some may really enjoy this if they give it a chance.

What i am Listening to: Squeeze

“Greatest Hits are for housewives and little girls”. This line from the Kids in the Hall sketch about the Doors may be the best one line of music criticism ever written. It’s a good line for many reasons, primarily being you have to be a certain age to say it. Greatest Hits are generally the way we discover our favorite artists. I suppose these days it could be a “Greatest Hits Playlist” but the concept is the same I could name my lifelong favorite artists and in nearly every case, I had their greatest hits album in my formative years. So here goes: Ramones, the Clash, the Jam, Soft Cell, the Stranglers, REM, the English Beat, Buzzcocks, the Damned, Roxy Music, Siouxsie and the Banshees, OMD, the Cure, New Order, the Police, Joy Division, David Bowie, Psychedelic Furs, Queen, Bob Marley, Tom Petty, XTC, the Who, the Rolling Stones, and come to think of it, the Doors. In this process, surely some great bands are lost. For example, I probably should not have skipped “Natural History” covering Talk Talk or “History Never Repeats” from Split Enz. Maybe if I had “The Whole Story” I would have gotten into Kate Bush much sooner. There’s no reason that I never purchased “Musiquarium” and as far as classic artists go who I only recently gotten into, well I can’t believe I never picked up Gold and Platinum (Skynyrd) or The Very Best of Jethro Tull, nor retroactively fill a gap I lived through like Tupac’s Greatest Hits. To get to my belabored point, I never did pick up the ubiquitous Singles - 45 And Under by Squeeze. I have written about Squeeze before- a band that did get a bit of airplay in the US and I enjoyed. Yet I never went very much farther. In the modern world of nostalgia radio, certain artists and songs have went up in value and some down. Squeeze only put three songs on the US Billboard Hot 100, yet just about all of the 12 songs off “Singles” are staples of this nostalgia wave. There is just something timeless about the greatest moments of Difford and Tillbrook. It’s smart pop. For me, it means I am finally getting around to the bands classic run of albums -79s Cool for Cats, 80s Argybargy and 81s East Side Story. Better late than never. And that’s what I am listening to this week. 1979 - A&M