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
Mick Harvey has had a fantastic highly under the radar career. Perhaps accomplishing the work of two or three people.
Famously, he was Nick Cave’s right hand man from the beginning in the Boys Next Door and the Birthday Party and then finally the Bad Seeds up until Dig Lazarus Dig and leaving in 2009. He was also a member of Crime and the City Solution - the similarly minded Australian band in their 1985-1991 run.
As notable, he has worked with PJ Harvey (no relation) and co-produced or played on five of her albums most notably Stories from the City, Stories from the Sea and Let England Shake.
You can find his work when you listen to Anita Lane, Rowland S Howard or the Cruel Sea. As a solo artist, he has credited on ten albums and of these, his main work has been his four albums of Serge Gainsbourg covers.
I am usually not a fan of such tributes, but I love these records. Not only do I enjoy them, but they are some of my favorite records.
Harvey likely kicked off the greater appreciation for Gainsbourg in the indie community. Harvey is perfect for it- exhibiting similar vocal territory as his aforementioned peers - Cave, Howard and Simon Bonney
Probably the last we heard from Harvey was his collaboration with author Christopher Richard Barker- a weird concept record about a fictional World War 1 soldier and his correspondence. It sounds pretentious but was actually one of my favorite records of 2018.
He returns in 2023 with Phantasmagoria in Blue with actress/singer/filmmaker Amanda Acevedo who is making her recorded debut here.
It’s a stunner of an album if you liked Harvey’s Gainsbourg records. Acevedo is a terrific foil and both voices are dramatic and striking. It’s impossible not to think of Nancy and Lee or Serge and Jane/Bridget
The songs are covers from the deep well of not only Hazelwood/Sinatra, Leonard Cohen and Tim Buckley but Jackson C Frank and Silvio Rodriguez among the sources. Most strikingly is a cover of Benatar’s “Love is a Battlefield” which should probably stick out like a sore thumb but folds in seamlessly to the overall product.
Harvey kind of gets lost in the Cohen/Gainsbourg/Hazelwood/Walker lineage. Never quite as recognized as Cave, Tindersticks , Pulp or the many and varied artists who have used their elements in music. But Phantasmagoria in Blue is a masterful record of the genre and well recommended.
If I am being honest, the video borders on cheesy for me. I suppose it’s possible that we live in such a tech era where someone can make Hank Williams sing gangster rap and it sounds good. I get the adding of footage but I really think the video could have been so much better.
I don’t have anything new to add but I like Now and Then.
I tend to think it would have worked well as a McCartney/Lennon single. It’s not a bad song and the nostalgia hits the right tone. I totally get that. It is at first listen a bit unremarkable though its effect (like the song itself with the string section) tends to grow.
But it’s in my opinion, the least of the three Threetles songs and it’s interesting to find out that it was skipped in those 90s sessions earlier because Harrison didn’t think it was enough to build a song around.
All of the three “reunion” songs fit a generic Beatlesque template but for example that’s no surprise, but I love the sound of the other two. Even in their context, they sound good to me, for example, Real Love is carried by a strong Harrison guitar. I would love to feel more of a Harrison presence in the new song.
I think there is definitely an element of “the times” in the appraisal of these songs. The 90s songs seemed to be pretty much discounted right from the gate and I feel are largely unloved.
I realize they might not be the bands best work but one also can’t help but think that they’re no different than say VoodooLounge/Steel Wheels or the best moments of Its Hard/Face Dances. The trouble with any established band is they start to have to compete against themselves. The reason later Prince records were disappointing was because they were never going to be as good as Dirty Mind or Sign O The Times but also they were not going to be as good as the new Janelle Monae or Outkast album. The Beatles, the Stones, U2, whoever is always going to have those issues. There is no potential Beatles single that can beat nostalgia.
But the 90s songs are treated with a definite asterisk. Now we are separated to a point where the audience is either of a more advanced age pondering mortality (Now and Then) or haven’t really grown up with the Beatles at all (extending to not hearing Lennon/Macca/George on the radio as Gen X had)
The acclaim for the song seems fairly universal. The memes have the Beatles playing rivals to Jungkook, perhaps the biggest artist on the planet. And though you could play it for laughs, it is like two titans at the top.
At least, that’s my guess why it’s hitting different. It is being marketed as the last Beatles song ever and it seems quite possible that it could be (As technology changes, tapes get unearthed,etc, I still fell the inevitable doubt that we won’t see something else, but I guess the odds are probably strong it will be the coda).
Clearly, the way we consume music has changed as well. It is much easier to digest Here and Now by flinging it onto a playlist. We can share the video with our friends. Radio airplay is not really important to the process.
(Maybe that is also why I can be so cavalier in my opinion. The Beatles are everywhere in my life. There is a 24/7 Sirius channel. There have been numerous outtakes. The Peter Jackson doc. I don’t feel a sense of “return” as others may have because I can’t miss what hasn’t went away)
Ironically, the new trend towards buying vinyl probably has helped get the song to the top of charts as well. And as far as those charts go, maybe the charts aren’t that big of a deal anymore, but surely fans want to see them take the top spot.
The new song has been appended to the re-release of the famous Red and Blue Greatest Hits (perhaps like me you are annoyed if has been appended to 1967-1970 which surely would now make it 1967-2023)
As with Now and Then, technology has jumped in leaps and bounds since the Beatles anthology CDs. In this case, the songs recorded in mono have been taken by Peter Jackson and the elements released now in stereo surround.
The Red and Blue albums are special to me because they essentially were my introduction to the Beatles. I have fond memories of it taking me to a certain time and place. It is a pretty solid comp too. (I am in the ball park where Rock and Roll Music Vol 1 and 2 were contemporary too. There’s probably never not going to be a Beatles compilation or two on the market)
I have a half dozen friends who have had some success in the music industry and today I want to put in a good word for one of them. Maybe, one day I will get to some of the others.
I have known Jesse since he was a teen in the “rival” high school with mutual friends. He was one of the coolest people around back then. I still think he is. He was in one of the two local bands of the day- when the prevailing trends were U2 arena rock and baggy psychedelic Neds Atomic Dustbin style of the day.
I am probably not as close to him as I am with other friends of mine, and yet, I feel like whenever it was the toughest times of my life, he was always there for me. Even now, I really enjoy the quick conversation with him online. Funny, how we probably don’t realize that effect we have on others.
About a decade ago, he got active making music again, playing bass guitar in support for a band in St Louis. I was starting a family and unfortunately never made it to any of his live shows though at the time, I had hoped I could.
Since then, he has made music as a trio mostly in the recording studio with a rare love date.
In the last couple of years, he has really stepped up his recording and making his previously recorded stuff available on line. Although we have many similar tastes, I feel like his recordings dig into his roots of prog rock and Dischord Records style post punk. His last album- 2021s Precious Cargo was more into some of the progressive style stuff.
So I am more excited about his newest album- Mochyn Dall which is his love letter to 90s era Central Illinois music. This is more in line with those latter influences in emo-rock and post-hardcore. On his Bandcamp page, he calls out Sarge, Seam, the Poster Children and Hum.
I have written about my relationship with Champaign, Illinois music before. While I only spent a handful of weekend there, some of my best friends lived there and so I still felt that influence strongly. In hindsight, many of those bands in that scene ended up playing a major part on the development of emo rock.
Every review I have read of Buddy and Julie Miller’s new album “In the Throes” reads about the same.
They do have as much as claim to the title “the First Couple of Americana” as anyone. This is their fourth album since they started recording as a duo in 2001. Buddy has several solo albums, a disc with Jim Lauderdale, and a career as artist, producer, and songwriter going back to 1975. Julie started out (as her good friend Sam Phillips had) as a Christian music artist before branching out into more Americana fare.
They have - individually or collectively- worked with everyone in Americana. Scan their respective Wikipedia pages and see names like Emmylou Harris, Steve Earle, Shawn Colvin, Kinky Friedman, Lucinda Williams, Solomon Burke, Robert Plant, Patty Griffin, Innocence Mission, Victoria Williams, Richard Thompson, Levon Helm, Elvis Costello, Frank Black, Midnight Oil and countless others
If you know me, you won’t be surprised that I found about them via their work with Steve Earle. Buddy Miller played lead guitar on the El Corazon tour and produced the Colvin and Earle record. Earle sang vocals on the last Millers album.
In the 80s, it seemed like the most talented artists would find large audiences even when not played on the radio by finding alternative paths and word of mouth. I think, it’s true then, that in the 2020s, the most talented musicians will find an audience somehow through word of mouth and alternative streams, and so Buddy and Julie have quite a following.
In the Throes is a fine addition to a great catalog. I have to admit that at 67, Julie’s rasp adds a gravitas that makes their songs so appealing, but the interaction of the two is also a draw - something inherent in a married couple -a bit like John Doe and Exene or Richard and Linda Thompson. In the Throes is a mix of styles- the duos’ Bandcamp calls if a mix of gospel, blues, rockabilly and R&B.
Also of note, “Don’t Make Her Cry” is a Bob Dylan songwriting credit shared as it evolved from a song that was handed by Bob with origins in a 1978 conversation to Regina McCrary to the Millers.
My first experience with Lydia Loveless was 2016s Real. Real is probably a good halfway point in her career to date
Prior to that, her songs have titles like “Steve Earle”, “Chris Isaak”, “ Head” “ Boy Crazy” and covered Kesha and Prince and wrote a song about Jeffrey Dahmer.
There of course is no either/or or better/worse in art. But listening to 2020s Daughter or 2023s Nothing’s Gonna Stand in my Way Again tends to take me down a road of those critic cliches like “‘maturing songwriter”.
It’s a term we reserve for the Dylan’s and Lennon’s because they are the all time greats. Most musical acts seem to max out at two albums. But it’s this kind of criticspeak that I can’t help but thinking with Loveless.
There’s still the rebellious musician of those early days but it’s been honed into sharp songwriter material in the way rowdy rockers like Earle and Paul Westerberg did.
Which makes this an album an interesting one to ponder. It sounds so clean that it is easy to imagine it playing on the radio somewhere.
Of course, where is another story. While it would easily fit in a set between say Lucinda Williams and Jason Isbell, it’s not like there are that many stations around that exist.
Indeed, even in this new Stapleton/ Zach Bryan/Speak Now (Taylor’s version) country radio environment, there is, to be frank, a mathematically slim percentage of female voices on country radio.
Which I suppose solves the “what do I do now my favorite cult artist is popular” conundrum, but in no uncertain terms, is clearly a bummer.
There’s certainly nothing wrong with Loveless’s production that would keep it off air.
“Nothing..” is probably as good as an Americana album as one can get, and we do live on a post-radio environment, so people will find this album. The album’s singles like “Toothache” rock so hard that Tom Petty comparisons keep bouncing up. Unfortunately, modern radio wouldn’t likely find a spot for Tom these days either, so we are back to “word of mouth” and I am telling you now to go listen.
Paul Simonon is probably the coolest rock guy ever. He’s on the cover of London Calling- maybe the most iconic of record album covers. He was in the Clash. He wrote “Guns of Brixton”. He had the ultimate punk look.
Joining with Gary Myrick, he actually performs on one of my all time favorite records - Havana 3 AM- which was this mix of rockabilly and Tex-Mex- the kind of thing Joe Strummer always wanted to do- and it did it better than maybe even Joe did as a solo artist.
He played with one of the coolest 21st Century musos Damon Albarn in The Good, The Bad and The Queen, and even toured with Gorillaz. He has had a second career as an artist, spent time on Greenpeace vessels and even played on a Dylan record.
Simonon even had a cooler Covid lockdown than you. While the rest of us were wearing sweatpants, attending zoom meetings and binging on Tiger King, he used the time, writing music while living in a fishing village on the isle of Mallorca in the Mediterranean with singer Galen Ayers (coincidentally daughter of Soft Machine’s Kevin Ayers with a musical career of her own).
I have never been to Mallorca but “Can We Do Tomorrow Another Day” the pair’s 2023 album feels like it brings me there. Songs are sometimes sung in English and sometimes Spanish, while Strummer-style Spaghetti Western vibes and Sea shantys drift in their influence.
Perhaps the most obvious touchpoint is Nancy Sinatra and Lee Hazelwood and their albums. Pop from a distant time and place.
Albarn, Simon Tong (The Verve, Good Bad and the Queen) Dan Donovan (Big Audio Dynamite), and Sebastian Rochford (Polar Bear, Sons of Kmet) support and Tony Visconti expertly produces.
This is a fun record that’s nuanced enough to appeal to Clash fans (at least fans of Strummer's globe-hopping solo career) and yet is probably the most opposite album you could find to the Clash’s debut record.
“I’ve never had a good time.. in Paris” is pure whimsy with the two exchanging lines. If this kind of light fare was all the album was, it would probably wear thin, but the album is a mixture of moods and styles- “ Lonely Town” treads similar trails to great effect, but “Room at the Top” takes it down a darker path. In any case, with the utmost respect for Paul who occasionally comes primarily to the fore as on "A Sea Shanty", the album is at its best when the two are both combine vocally.
This definitely is the kind of record that could be a cult album. It just odd enough that I suspect many will skip over it. But it surprisingly hangs together well enough that it rewards the listener who spends some time with it.
In the internet age, it’s a whole new world where artists, musicians and public figures are just an instant message away.
I mainly keep to myself but in the internet 2.0 days, I did share some conversation with Glen Johnson of Piano Magic.
Now, I was probably a bit of a prick then, and I am likely still one now. So whether it was me or just circumstances, I lost touch, but for awhile- we bonded over a mutual love of bands like the Durutti Column and my curious inquiries into his music journo career.
The band while nearly unGoogable now remain a bit of cult figures, and broke up in 2017
It’s a shame as I was not familiar with them (when we first exchanged messages in the mid to late oughts) prior as an American (the band never toured the States) but they seemed to be gathering momentum here (starting with 2009s Ovations) when they called it quits.
I have always described them (and the press usually goes) with the “4AD band” label which is very evocative to a certain age group, and the band actually was signed to the label for two albums circa 2001 and 2002. They also draw some comparisons to My Bloody Valentine and bands that now are looped together as shoegaze.
Or having thought about it for the first time in years, I actually think the band would have fit quite well in that late 90s Chicago scene I associate with Jim O Rourke and others. Often focusing on the atmosphere and ambient vibes, echoes and unusual sounds. Johnson is a great vocalist and writer, but he doesn’t always feature that prominently. (When he does, it results in my favorite moments like Ovations).
When I do see them mentioned, they have a cult following and sort of exist in the same space as their hero Vini Reilly. Among others things that they accomplished, they brought English singer songwriter Vashti Bunyan out of retirement to record on 2002s Writers Without Homes.
Early in their career, the band recorded a single partnering with the Minnesota band Low. For Ovations, Brendan Perry of Dead Can Dance provided some guest vocals and on Closure, the great Audrey Riley (Smiths, Nick Cave, Muse and countless others) provides cello.
Although Piano Magic is no more, Johnson (the only constant member) has entered JG Thirlwell territory in his work- meaning prolific under various guises, often very esoteric.
There’s the electro pop of Future Conditional. There is Johnson creating artistic soundscapes in a duo with Kristina Pulejkova (2016s My Heart is Running Out of Breath.) For more experimental electronic sounds, there’s Textile Ranch. For something close to Piano Magic, Johnson has recorded solo (2009s Details Not Recorded) and with latter era Piano Magic member Cedric Pin (2018s The Burning Skull)
Johnson’s most recent work is a trio called Theory of Ghosts. This band takes their name from a Piano Magic song and features another ex- Piano Magic member Franck Alba.
Theory of Ghosts has released two EPs this year- 7 songs, 34 minutes- now available either together or separately.
For me, this is the side of Glen’s music I love and think it is definitely among his best moments. The atmospheric sound is here but so are the lyrics. The best song’s unsurprisingly are the two lead off songs on each EP but the “b-sides” are quite good as well (the latter A side “Porcelain” - an atypical upbeat New Order/Smiths-ish number, the former “When the Rain Comes” more of the ethereal goth- tinged classic Piano Magic sound)
It was earlier this year that I wrote about Sixto Rodriguez. I don’t have much to add in those six months but it is worth noting- when I “discovered” him that he has since became a favorite artist. That’s not a big deal when you are younger, but as I approach the middle of being middle aged, events like this are quite rare.
A benefit of social media has been sharing their stories- seeing him in concert or even knowing him as a Detroit area civic leader/community organizer. It is a good story from obscurity to being streamed in the tens of millions
I love Cold Fact, his debut in which almost every song is a keeper. To me, it feels like an intersection of Dylan/Donovan style folk and a more urban sound like Gil Scott Heron and Curtis Mayfield.
It’s hard to think of who his peers really are, though names like Richie Havens, Tim Buckley and Arthur Lee come to mind. I can only imagine Rodriguez makes more sense in terms of artists who came after him (think the Ben Harpers and Tracy Chapmans) than anything that came before him.
His second album Coming From Reality is much less accessible, I think. Yet is at least strong enough to cement the legend.
Rodriguez falls into a rather unique spot of being a cult artist and having his work enjoyed by millions. I think we will only see a bigger influence as time goes on and he slips seamlessly into the file of great 70s singer songwriters
My first exposure to Robbie Robertson was his 1987 debut. Like many of his peers like John Fogerty, Roger McGuinn and others , the music landscape was ready to embrace these legends after a brief hiatus.
I was a “cassette club” member so it was one that caught my eye, but less for the artist and the more guests. I was a huge U2 fan and this was the rare album where they made a guest appearance. I am sure it was related to Daniel Lanois being the producer.
U2 co-wrote one song and appeared on a second. Peter Gabriel, the BoDeans, Ivan Neville and Maria McKee also guested
It was an acclaimed Roots Rock album when Roots Rock seemed to be at a height, but as someone who listened mostly to The Clash and Ramones, I didn’t care for it.
Now, to be fair, while I never fell head over heels over the album, I did come back to it and ended up listening to it a lot years later.
As a teen, I watched The Last Waltz, though I had no context at the time. I didn’t know it was supposedly the best concert film ever, but just a concert film (and one with a bunch of cameos) and it didn’t have a huge effect on me
But one thing that did have that monumental effect was The Band’s 1976 SNL appearance. Now, I didn’t see it live but in those 90s reruns of the classic stuff, but it was an illuminating moment nonetheless.
It’s hard to find YouTube footage that doesn’t get zapped by NBC, and of course it was Levon Helm who sang lead. Still, maybe that was part of the appeal. Robertson was the most recognizable face, and when they hit the chorus and he, Manuel and Danko all sang, it was fairly amazing.
I have always loved that song. The discussion around it has taken a life of its own recently for glorifying the Lost Cause, though certainly the anti War sentiment is surely the basis of the song.
That experience led me to buying the ubiquitous Best of the Band record and eventually the second album (the self titled Brown album).
I may never have embraced them quite like I did the Byrds (and I never really liked their biggest hit “The Weight”) but I did love songs like “Up on Crippled Creek” and “Ophelia” and it probably wouldn’t hurt to search out more. Additionally, as I have mentioned elsewhere, I have come to enjoy Dylan and the Bands 1975 The Basement Tapes album.
I have meant to write about George Michael for a long time, so here goes.
I write about certain topics and he checks off a lot of boxes. A tribute for his passing (has it been seven years?), a favorite of my Moms who loved a few 80s artists (Michael/Wham, ABC, Spandau Ballet) a favorite of mine as a kid (which I usually tag as #raisedonradio) and lest we forget a new release - there is a brand new Netflix Wham documentary accompanied by a Greatest Hits compilation Singles: Echoes from the Edge of Heaven.
My mom loved Wham and Make It Big was one of the few records and few non-60s vinyl records that I picked up from #momsmusic collection
I loved Wham as a kid and still do. As a teen, I picked up a bunch of 45s from the local rummage shop -Wham, Prince- I can’t remember what else but definitely everything I could have those two.
The US skipped the first album 1983s Fantastic which is probably just as well. I don’t think it would have been the memorable debut Make It Big was. “Wake Me Up Before You Go Go” was one of those pop songs that turned the world on its head
It really was a game changer. Like “Hey Ya” or “Smooth”, music either existed before or after. The flashy video probably helped and though it is more prevalent now, living in the Bible Belt, “Choose Life” meant a stance on abortion.
I don’t think you can understate how big Faith was. Although I had kind of moved on, it was a big deal. It is probably fair to say it affected two generations as Limp Bizkit made a Nu metal cover of the title song exactly 10 years later.
In the early days of the internet, one of my first non-IRL virtual friends was a huge Michael/Suede/Brett Anderson fan and I was a huge Morrissey/Suede/Brett Anderson
I think I offended her when I said George was a great pop star (which is probably a slight). I am not sure if I meant it as a slight then, but I would probably still say it today without negative connotations.
Pop and indie music were judged rather separately 20 years ago, but now artists like Taylor Swift and Carlie Ray Jepson get reviewed regularly by places like Pitchfork. This didn’t happen when say, Janet Jackson was on the charts, despite the fact she made great music.
But Michael was a great pop star. I have a soft spot for pop and I say the same for others. Ricky Martin was a great pop star. Harry Styles and Beyoncé are great pop stars. Robbie Williams and Lily Allen were great pop stars. Sia is a great pop star
Michael did try to make a serious album with the ambitiously titled Listen Without Prejudice Vol 1.
Michael feuded with his record company and it did slow down his chart success. He still had some great tunes, including one of my favorite songs of the late 90s:“Fastlove”.
I have heard mixed reviews on the Wham documentary. I do hope to watch it some day. My brain always goes to one of the last Wham hits which was billed as Wham Feat George Michael (a bad sign when you are a duo). Still, my understanding is that the two friends were of great help to each other - Ridgely both a major force in the band finding fame and also supportive enough to step back and let George take the limelight
One of my favorite albums of recent years are 2017s Welcome To Zamrock Vols 1 and 2.
The rock music of Zambia of the late 60s and early 70s was a mix of protometal influences like Cream and Blue Cheer with some funk and psychedelica sounds added to the mix.
Some of the most prominent bands were Amanaz, the Ngozi Family and Musi-O-Tunya but probably the stalwart of the genre was the band WITCH (We Intend To Cause Havoc).
The modern music landscape means that a lot artists from the past are getting rediscovered and recognized that otherwise might be forgotten.
In the case of Zamrock, many of the bands have broken up or the artists have passed away like Paul Ngozi and all but one of the original members of WITCH.
It would seem unlikely to expect new Zamrock tunes in 2023, and even more unlikely that it would be worthwhile.
But the attention did bring Jagari Chanda out of retirement and the man who led WITCH from 1972 to 1976 joined with keyboardist from the 80s post-Chanda iteration of the band (Patrick Mondwela) and brought the band out of retirement.
Touring for ten years now, the band is now releasing its first original material in almost 40 years, and it’s pretty great.
WITCH in 2023 doesn’t sound all that much ulike other bands around now that pull in from Black Sabbath, Deep Purple and Hawkwind. Of note, some of Zambia’s biggest artists guest here.
There’s Theresa Ng’ambi, singer and instrumentalist who has been feted by the BBC and rapper Samba the Great who has two Top 12 albums in Australia. On paper, cameos call to mind albums like Prince’s Rave Un2 the Joy Fantastic - ham handed attempts to sound modern and relevant.
But Zango hits the right balance of sounding like the 70s band, but in a modern setting. At around 42 minutes, the music goes enough different directions without wandering too far off and there’s no real clunkers.
Chanda at 71 sounds like he could be 21, full of energy and still listening to the same proto metal bands that power many upcoming artists. I like it.
A band that I heard once and didn’t like was the Baseball Project. I likely would have always ignored them until a friend told me how good they were via a conversation on “unloved records”. I am grateful for that second listen.
Here’s the thing. The Baseball Project is weird and there’s really no getting around it. On paper, it is a supergroup: Steve Wynn of the Dream Syndicate and a lengthy solo career, Peter Buck and Mike Mills of REM, Scott McCaughey of Young Fresh Fellows and Minus Five, and Linda Pitman of Zuzu’s Petals and Filthy Friends.
I took a first listen as a huge REM fan and this isn’t typical rock fare.
It’s less Mitch Easter jangle pop and more Terry Cashman who had a left field (ha!) hit in 1981 called “Talkin Baseball (Willie, Mickie and the Duke)”
And even more odd, that description isn’t an exact fit either. Yes, all the songs are about baseball, they are nostalgic and they are specific, but they are also strange, profane, not-intended-for-kids tales.
If there is a comparison for The Baseball Project, the closest artist might be Sufjan Stevens. Thematic tales told in a goody folk style similar to say a Camper Van Beethoven or Mountain Goats.
I am a big fan of College rock and a big fan of Baseball and even though it is an enjoyable enough example of the former, it must be the latter that draws me in.
I was late to the band’s first three albums, but I am caught up now in time for 2023s Grand Salami Time.
With these types of story songs, some are durable, and some you can hear once and not need to hear again. The band has provided a good mix of both.
It perhaps seem as a matter of process, but it is notable that all four albums are of consistent quality. Yet, that is maybe another quirk- it surely isn’t that easy to crank out four volumes of this, and still be interesting
Album four tackles Pitcher Steve Blass (who famously couldn’t throw all of a sudden) the accidental drowning of up and coming star Jose Fernandez, baseball’s great pariah Jim Bouton, as well as fantasy baseball, the White Sox 1979 Demolition Disco Night, Sabermetrics and of course, more.
Particularly of note, the new album is coincidentally produced by Mitch Easter who of course worked with Buck and Mills on Chronic Town, Murmur and Reckoning.
