March ’20


No one can accuse Beck of being a formulaic songwriter. He’s a chameleon without a signature sound. Last year’s Hyperspace was the latest example of his experimental approach. Produced along with Pharrell Williams, these eleven songs weave a narrative backed by everything from synth-pop to Delta blues to low-fi psyhcedelia. Beck tapped into Williams’ minimalism as a producer to offset his own maximalist tendencies, resulting in a dreamy and heady collection. This isn’t exactly the most memorable of the Beck ’s albums I know. It’s not at the level of Odelay or Colours. But there’s something satisfying about each cut. Of particular note are “Stratosphere,” “Uneventful Days” and “Chemical.” 

Pigeonhole: Synth-pop, alt-rock


It took some time to get into Ray LaMontagne’s 2014 album Supernova. It opens with the wispy “Lavender,” inducing a trance perfect for the next cut, “Airwaves,” which moves at Jack Johnson pace. And only then does LaMontagne lift the roof off with “She’s the One.” From there, the album just blossoms for me. “Pick Up a Gun” has all the suspense of a Raymond Chandler noir. “I love you, you don’t love me.”I mean how’s it all going to end up? (Spoiler alert: he doesn’t say). Then the rocker “Julia” seems like a modern day answer to “Gloria.” But my favorite has to be “Ojai,” which is kind of the perfect Ray LaMontagne song. “Smashing” left me kinda flat. Overall, exceptional.

Pigeonhole: Folk rock, psychedelic rock


Absolutely fascinating find. The late Pauline Oliveros was a composer and pioneer of experimental and electronic art music. Her album Deep Listening (1989) was recorded in a cistern fourteen-feet underground that once held two million gallons of water. The cavernous space creates a 45-second reverb, the end result being an absolutely haunting and surreal mix of sound and texture. Oliveros described deep listening as “a practice that is intended to heighten and expand consciousness of sound in as many dimensions of awareness and attentional dynamics as humanly possible.” She collaborated with trombonist Stuart Dempster and vocalist Panaiotis on this improvisational collection. Deep Listening has been coupled with cuts from Oliveros’ 1991 follow-up album, The Ready Made Boomerang, and has just been released as a two-album set (although not yet available on Spotify). A word of caution: In these dark, quarantine days that can feel like the end of times, this album may induce more depression than it alleviates. If there was ever a soundtrack to a scorched earth pandemic, this could be it. 

Pigeonhole: Experimental, electronic art


Before today I couldn’t have told you the difference between The War On Drugs and TV On The Radio, two bands I’ve known of for years but (thanks, I guess, to dyslexia) always mixed up. Now that I’ve listened to both their 2014 albums, I understand the vast differences. For starters, there are five main members of TOTR on Seeds (2014) while TWOD is basically one guy (Adam Granduciel; more on him in the next post). TOTR offers the more instrumentally robust of these albums, the particular standouts being “Ride,” “Could You” and the beautifully manic “Lazerray.” Seeds was kind of a tribute to their bassist Gerard Smith who died of lung cancer at thirty-six years old. This record is definitely on my list for 2014 bests.

Pigeonhole: Art rock, indie rock


Even though it was released in 2014, Lost In The Dream by The War on Drugs seems pertinent during Covid19 “lockdown.” It feels like music made in a state of depression, which in fact it was. Adam Granduciel, who is essentially The War On Drugs, battled some demons during the making of this album, which kept him in seclusion for days. He’s a one-man show, credited with about a dozen different instruments and synths. There are dark cuts (“Disappearing,” “Suffering”) which are severely hypnotic while somehow maintaining a soothing quality. This third album from TWOD is meticulously crafted, with Granduciel giving each song plenty of space to blossom.  

Pigeonhole: Indie rock, neo-psychedelia 


The Main Thing is the fifth album from the New Jersey band Real Estate and, when it was released in 2014, was considered their most mature collection. But the quality seems to drift off the longer the album goes on, and it goes on a bit too long. Nice harmonies “Falling Down.” “Paper Cut” about being stuck in a rut, is a nice jangly pop tune. Worth a listen.

Piegeonhole: Indi rock, jangle pop, dream pop


My top albums from 2015 list is up and ready for public scrutiny. I’ll mention the last album I heard before finishing the list, Get to Heaven by English frenetic art-pop group Everything, Everything, whose sound has been compared to a riot in a melody factory. Read a reference to the band as “math rock.” Wikipedia: “math rock is characterized by complex, atypical rhythmic structures, counterpoint, odd time signatures, angular melodies, and extended, often dissonant, chords.” Bottom line, there’s some great sound here, albeit a little scattershot. This album didn’t end up making my list, although it’s interesting enough to get honorable mention. 

Pigeonhole: Art pop, indie rock, electronica 


Noticed Bob Schneider was participating in the ACL Stands With Austin fundraiser to support bar and restaurant workers during the worldwide shutdown over Conva19. I’ve followed Schneider for years and seen him numerous times live.  He’s without question one of my favorite songwriters/performers. I’d never really sunk my teeth into his 2013 album Burden of Proof until now. As usual, it doesn’t disappoint. There are numerous songs that meet his always high-level of marksmanship, but ’m not a fan of the entire collection. The lead track “Digging for Icicles” is a Leonard Cohen imitation that doesn’t work for me. I wish he’d ended the album with a sweet little ditty he’s so capable of writing, rather than a cover of “Tomorrow” from Annie. But I quibble.  

Pigeonhole: Indie rock, singer/songwriter


Danielle Balbuena (aka 070 Shake) has dropped her debut full-length album and it’s deep with incredible soundShe broke out in 2018 with collaborations with Kanye West (“Ghost Town” and “Violent Crimes”) and Pusha T. The number 070 references the zip code where Shake was raised in North Bergen, New Jersey, which she says was full of “kids on drugs.” Her Dominican mother told her she’d rather Shake be in jail than be gay (which she is). It was in this environment that Shake began creating poetry and raps. On Modus Vivendi (Latin for “way of life”), it’s her deep, raspy vocals that really make these songs pop. There is clear rap influence (“The Pines”) but 070 Shake mixes things up a lot. “Guilty Conscience,” one of her top tunes on the streaming service, is basically pop. “Rocketship,” with great beats and vocal effects, is the highlight. From her previous releases, “Honey” is powerful and infectious, featuring vocals from Ralphy River and Hack & Tree.

Footnote: This blog is intended to be exclusively about music. But the daily diary format makes it almost impossible to ignore major current events. Today is Day 1 of the Coronavirus Quarantine here in Los Angeles, so it should be easier than ever to remain dedicated to Music4Sativa, a blog I started as a distraction from the chaos in the world. And that was before the pandemic. Let’s all stay healthy and listen to more music! 

Pigeonhole: Emo Rap,


The Chicago Transit Authority wasn’t exactly an instant success. Their self-titled debut in 1968 was competing with an already established experimental jazz-rock fusion ensemble called Blood, Sweat and Tears (“Spinning Wheel” and “You’ve Made Me So Very Happy”).  It took two years for the band eventually known simply as Chicago to chart with the single “Beginnings” from that debut album. Chicago got more attention after their second album (1971) with the singles “Make Me Smile” and “25 or 6 to 4,” and suddenly the popularity of that two-year-old debut started to rise. It would remain on the charts for 171 consecutive weeks (a record at the time), and be considered Chicago’s best overall record. I’d heard many of these songs before, but several were new to me. An hour and fifteen minutes long, most songs are drawn out explosions of sound coupled with some of the greatest horn work in rock history.  In addition to the aformentioned “Beginnings,” there are two other cuts here “I’m a Man” and “Does Anybody Really Know What Time It Is” that are very familiar to people of a certain age and are still a treat to hear. Parts of this record, however, earn respect based solely on historic value and not because they hold up to modern eardrums. “Liberation” gets a little out of hand, I mean if a fifteen-minute song can get out of hand. Terry Kath’s guitar solo is almost insufferable, as he is also on “Free Form Guitar.” But these are old school guitar solos, the ones that go on minute after minute after minute with no end in sight. Spent a couple hours coursing through the Chicago catalogue and have to say, I haven’t given Chicago sufficient credit over the years. They were at times absolutely amazing, and other times unlistenable. Through the years they became over produced and poppy, like “You’re the Inspiration,” “If You Leave Me Now,” “Hard to Say I’m Sorry” and “Call On Me,” all of which are pretty awful. It’s hard to believe it’s the same band, and in some cases because of personnel changes, it really wasn’t. 

Pigeonhole: Jazz rock, pop rock


Ego Death was the third album from funk R&B group The Internet and was nominated for a Grammy for Best Urban Contemporary Album in 2015. Lead by songwriter and vocalist Syd Bennet, The Internet draws musical influence from many sources and brings it all together for a truly unique sound. “Special Affair,” “Go With It” and “Girl” are standouts. Jannelle Monae and Tyler, The Creator make appearances. 

Pigeonhole: R&B, jazz hip hop, funk, electronic


Yesterday Alec Benjamin and today Lauv? I must be channeling a prepubescent schoolgirl. But I’ll admit it. I think both these artists are seriously talented. Lauv’s debut dropped last week and the entire hour of it is quite good. K-pop boy band BTS appears on “Who,” so the target market is clearly young and mostly female. These are all solid compositions; there are numerous sweet spots (“Who” isn’t one of them). But “Sweatpants” definitely is, as is “Mean It” and “I’m So Tired.”

Pigeonhole: Electropop 


Until today I was familiar with only a couple Alec Benjamin songs (“Jesus in LA,” and “Let Me Down Slowly”) but took a listen to Narrated For You (2017) and found him to be an incredible vocalist who reminds me at times of Jason Mraz. Even songs about school-boy crushes (“Annabelle’s Homework”) seem mature on a certain level. “Doesn’t matter how many papers I write/End of the equation won’t be you and I/Now I’m just another who got hurt/Doin’ Anabelle’s homework.” Before he was signed to his current record contract the Phoenix-raised Benjamin tried everything to get noticed, including playing his songs on guitar in the parking lots of Shawn Mendes and Troye Sivan concerts. His new EP, The Book of You and I is another special collection of songs. It’s all a little bubble gummy at times, but that’s what you have to expect with sweet songs about young love. (Highlights: “Oh My God”). 

Pigeonhole: Pop, indie


Not that I was planning on attending Coachella, but a band I would not have missed is English EDM duo Disclosure. The Grammy-nominated Caracal from 2015 was a phenomenal album that featured a bunch of guest talent, like Sam SmithLorde and The Weekend. Now, brothers Guy and Howard Lawrence are back with another great single, the pulsating house track “Ecstasy.” It completes an EP of songs previously released as singles, all five of which are worth a listen. “Tondo” and “Etran” both employ nice African beats while “Expressing What Matters” is a clever rework of Boz Scaggs’s “Lowdown,” utilizing large portions of the original song. 

Pigeonhole: EDM, house, dubstep


The fallout from coronavirus continued today as both Coachella and Stagecoach were postponed until the Fall. Took a listen to several of acts that had been scheduled for Stagecoach and found the vast majority of them way too commercial and polished for my taste in country. Midland is an exception. I was familiar with their fantastic 2017 debut On the Rocks, but took a pass through last year’s Live From The Palomino. They clearly put on a great show (although the mix on this live album leaves much to be desired). Lead singer Mark Wystrach has a great country voice and their sound has been compared to legendary George Strait. They hit all the classic country themes (i.e. “Drinking Problem” and “Cheating By The Rules”).

Pigeonhole: Country


The mother of all music conferences, South by Southwest, has been cancelled due to the coronavirus situation. Not that I’m personally affected. I attended some of the first SXSWs in the early Nineties, but it’s grown into something beyond my needs as a music fan. Curious to hear what I (and now everyone else) will be missing, I gave a listen to many of the bands scheduled and found the answer to be: not much. Incredibly, more than two THOUSAND bands had showcases scheduled. The official SXSW 2020 playlist on Spotify consists of thirteen hundred songs over eighty-three hours! With the help of shuffle play and the fast forward button, I jumped in and waited to be impressed. It was a long wait. Apparently the main qualification to be awarded a showcase is fogging a mirror. I found a couple worthy of note, including Bay-are indie pop collective Peach Tree Rascals, Nashville singer/songwriter Myylo and blues-rock guitarist Patrick Sweany. But my favorite (after more than two hours of sifting) was Sarah Shook & The Disarmers.  Shook’s gritty vocals coupled with solid songwriting put this band on the map in 2015 with the album Sidelong, which earned them the label of country punk. A review in LouderThanWar said it this way: “These are songs for a community of lost souls, misfits, giving praise to misery and one finger to loneliness.” The song “Fuck Up” shows Shook at her most raw: “It’s hard to wake up in the mornin’ when I just crawled into bed/With bad memories and alcohol swimming in my head/My mama used to tell me to buck up/I guess I’m just too much of a fuck up.

Pigeonhole: Country punk, singer/songwriter


If you search the name Daniele Baldelli on Wikipedia you won’t find anything. Instead you’ll be redirected to the page for “Afro/cosmic music” because Baldelli is considered the creator of this synth-heavy, African influenced dance music genre. I’ll let Wiki describe: “A freeform mixing style that allows for short hip-hop … as well as long, beat-matched segues; it sometimes incorporates added percussion and effects; and it permits major speed variations to force songs into a 90-110 beats per minute range.” Baldelli has been DJing in Europe since the Seventies but he’s far from washed up. There’s so much to like on his 2015 album Cosmic Drag, that is obviously retro at times and yet refreshingly new. It made a couple best of lists that year, and may make mine. There are four songs on this instrumental collection with the word “cosmic” in the title, so I guess Baldelli is trying to tell us something. It gets a little weak towards the end but the vast majority of it is fun, compelling and at times, cosmic, I guess.

Pigeonhole: Cosmo-disco, Afro-disco, synth


There’s not much left of the original Electric Light Orchestra, in fact the 2015 album Alone in the Universe finds front man Jeff Lynne the only remaining member to appear. But really Lynne was and still is ELO. He handles most of the instrumentation here, with wonderful results. This incarnation of the band is officially known as Jeff Lynne’s ELO, to differentiate it from the tribute and imitation bands in circulation. This is ELO’s thirteenth album and Lynne’s voice, sixty-seven years old and counting, is unencumbered by the years. When the original band disbanded in 1986, Lynne became highly sought-after as a producer and worked for the likes of Tom Petty, George Harrison and Roy Orbison. He produces here on this disc, as well.  

Pigeonhole: Pop-rock


Big Gigantic out of Boulder, Colo., has released their seventh album, Free Your Mind, which builds on my already warm and fuzzy feelings about them. Saxophonist Dominic Lalli and drummer Jeremy Salken are joined by a slew of talented vocalists for this celebration of self-love and humanism.  The title track (featuring vocalist and trumpeter Jennifer Hartswick) launches this solid collection of which the highlights are numerous (“Where I Wanna Be,” “Baad,” “Let The Speakers Blow,” “Burning Love”). My favorite might be the hot dance song “Higher.” They’re currently on tour with a 3D stage show (glasses provided) that’s part movie part concert. 

Pigeonhole: EDM


I made it sixty-one days, blogging every day about new music that found its way to my ears. But the streak ends there, thanks to a hectic work schedule that consumed the better part of four days. I believe I’m back on track, but only time will tell. To fill the gap in the MarchPosts playlist, I’ve uploaded four songs from my 2019 Best Of list: “Castaway” from Yuna, “Living Mirage” by Head and the Heart and “Up All Night” by Sault.


For my money, Rufus Wainwright hits more than he misses, although I understand his nasally vocals aren’t everyone’s cup of tea. His last great album (my opinion) was Release the Stars (2007), so there’s great anticipation for Unfollow the Rules,due out next month. In the meantime, the second single  (“Damsel In Distress”) was just released and it finds Wainwright as vocally impassioned as ever. Coupled with “Trouble In Paradise” (released last October), these teasers portend good things to come.  

Pigeonhole: Baroque Pop, operatic pop

February ’20

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If Green Day had the quintessential musical statement during the George W. Bush era, then maybe the Drive-by Truckers have just offered the same for the times were in now. The Unraveling touches on opioids, babies in cages, white supremacy and church shootings, all of which sounds very current. There is no title track to The Unraveling, although “21st Century USA” goes a long way to explain the mood of this album. “If Amazon can deliver salvation/I’ll order it from my phone.” Like many alternative country acts, the Truckers record this album entirely in analog. I’m intrigued by their 2001 double album Southern Rock Opera, that apparently weaves the history of Lynyrd Skynyrd into a narrative about a fictitious band. I’ll get around to that one some day. Still trying to fall in love with the Truckers, but am very much in like with them. 

Pigeonhole: Alt-country, southern rock


New single by Phoebe Bridges “Garden Song” continues a long string of solid sound from her, both solo and collaborative. She made a big splash as lead vocalist of Better Oblivion Community Center, which released several nice songs last year including “Dylan Thomas” and “Exception to the Rule.” In 2018 she was part of supergroup boygenius (with Julien Baker and Lucy Dacus) and appeared on Ethan Gruska’s solo album on “Enough for Now,” touted on this page previously. Will find time to hear Bridges’ only full-length album, Stranger in the Alps (2017). I expect I’ll hear great things. 

Pigeonhole: Emo, indie rock, folk rock


Scratched the surface of the The Chemical Brothers’ catalogue and now realize thy make an incredible sound. The British electronic duo, along with the likes of Fat Boy Slim and Prodigy, are considered the pioneers of big beat dance music. Tom Rowlands and Ed Simons (not brothers) have been working together for twenty-eight years and remain fully relevant today. Heard both Born in the Echoes (2015) and Dig Your Own Hole (1997) and found both incredibly powerful. There are further depths to plumb for sure. 

Pigeonhole: Electro dance, house, big beat, 


Even though I’ve known the name David Allan Coe for decades, I know almost none of his catalogue, and I was once pretty dialed in to country music. Listened to his 16 Biggest Hits (1975) and found the great “You Never Even Called Me By My Name” (more on that in a sec). But almost none of the rest of it was recognizable. “Mona Lisa Lost Her Smile” I know (by somebody else) and this version is just rubbish, as is “Tanya Montana.” Really none of these songs hold up, although he sure does have the perfect country voice. But he’s such a corndog, even for country music. Some of it is just ridiculous, like “Now I Lay Me Down to Cheat.” If these are truly David Allan Coe’s greatest hits, I guess I haven’t been missing much. “You Never Even Called Me By My Name” was written by John Goodman and the legendary John Prine, although Prine later asked to be UNCREDITED for his part in this song, because he thought it was “goofy” and a “novelty.” And it was Coe’s biggest hit! I’m sure Coe had other quasi hits after 1975, but I’m not that interested in finding them.

Pigeonhole: Country


Arlo Parks is a musician and poet from South London who is predicted to be a breakthrough artist this year according to a BBC poll of music critics. She’s nineteen-years old (half Nigerian, a quarter Chadian and a quarter French) and credits Allen Ginsberg, Sylvia Plath and Fela Kuti as her writing inspirations. Her single “Eugene” dropped earlier this month and is yet another in a string of really good and fairly obscure songs by her. Parks is best known for the 2019 single “Cola,” which is “a reminder that betrayal is inevitable when it comes to pretty people that think flowers fix everything.” Last year she and English alternative band Easy Life released a sexy alt-R&B song called “Sangria” which is definitely worth a few listens. Arlo Parks seems on the verge of something, so stay tuned. 

Pigeonhole: Indie-pop, bedroom pop, indie folk


Having no idea what I was getting into, I queued up the HBO hour-long documentary Songs from The Golden One, and ended up in a stew of contradictory emotions. Whitmer Thomas is a 30-year-old comedian and musician from Alabama who narrates this story as part stand-up and part concert. The stage portion is shot at the Flora-Bama Lounge,  where his late mother always dreamed of playing with her band, but never did. He definitely knows how to keep an audience mesmerized. And the soundtrack isn’t bad, either. It kicks off with the line: “It fucking hurts to be alive/All the disposable fragility of life.” Which doesn’t sound all the comical, and truthfully neither is much of his stand-up, once you realize his stories about abandonment through flight and death are all true. The term Golden One is apparently how his mother referred to him just before she died. “Dumb and in Love” (a la Khalid’s “Young, Dumb and Broke”) is the most approachable of these songs, but it’s all very listenable. “Partied to Death” tackles his reluctance to imbibe in substances in light of his mother drinking herself death, as he says. His vocals occasionally tread in Lou Reed and David Bowie territory, like “The Codependent Enabler.” None of them are laugh-out-loud funny, with the exception of “Eat You Out.” But even then, you’re left feeling kind of sad for this guy, even though he’s comes off quite lovable, honest and kind. 

Pigeonhole: Emo, neo-punk, synth rock


Moses Sumney’s græ Part 1 has just dropped as the first half of a 20-song opus (the other half due out in May). Splitting the release in two seems wise. This is smart music that needs to be processed. Already there’s talk of it contending for album of the year. As produced pieces of music, there are cuts here that rival Radiohead’s best work (see “Neither/Nor”).Vocally, Sumney is as versatile and fresh as Britney Howard with avocal range that’s mind boggling. But he seems most comfortable in a crystal clear falsetto.  “Gagarin” is especially heady. Yuri Gagarin, whom I assume is Sumney’s inspiration here, was a Soviet cosmonaut and fist human to enter outer space (1961) and make a complete orbit of Earth. Just as this song seems to fade out, it’s resurrected to the sound of blowing wind and birdcalls. Gagarin later died in a routine training mission, which maybe informed the lyric: “I gave my life to something/Something bigger than me.” It’s an amazing piece. As are “Virile,” “In Bloom” and “Polly.” There are several short clips on the album which aren’t so much songs but statements, like “also also also and and and” where Sumney speaks the lines: “I insist upon my right to be multiple/Even more so, I insist upon the recognition of my multiplicity,” and he adds, “What I no longer do is take pains to explain it or defend it.” Which perhaps is addressing the curiousity about his sexuality (he describes himself as “aromantic” or free from the desire for romance). For me, Sumney is intriguing on many levels as he positions himself to become one of the important voices of modern music. Expectations are sky high for Part 2

Pigeonhole: lo-fi, electro soul, art rock 


Mother Earth’s Plantasia (1976) is an electronic album by Mort Garson which I stumbled on while shuffling through the High Maintenance playlist on Spotify. As if that album title wasn’t charming enough, there’s a subtitle: Warm Earth Music for Plants… and the People Who Love Them. This forty-six-year old album was given away free with the purchase of houseplants at a long-defunct Los Angeles store called Mother Earth, known then as a counter-cultural hangout. These compositions were meant for the listening pleasure of houseplants, in the wake of the huge success of the book The Secret Life of Plants (1973). Maybe I’m part houseplant because it was pretty easy to slip into a good mood while listening to this trippy collection of melodic tunes. The range of emotions goes from peppy to jovial. Garson worked with the likes of Glen Campbell, Brenda Lee and Doris Day before the invention of the first synthesizer, the moog, which he uses on this album with wonderful results. Songs have titles like “Ode to an African Violet” (incredible), “Symphony for a Spider Plant” and “Concerto for Philodendron & Pothos.” Could it all be any more precious? The intended audience here is vegetation (in more ways than one). It definitely passes the modern-day chill test. Just ask the asparagus fern in the corner. 

Pigeonhole: Electronic, experimental, ambient


Patrick Droney is a relative unknown despite “High Hopes” notching over eight million listens to date. But his obscurity should soon be a thing of the past based on the six songs streaming right now, including “The Wire,” just released today. I saw a comparison to John Mayer, which might be a little premature, although Droney definitely has the chops and looks. This soulful pop feels Nashville influenced, with hints of country, rock and blues. Droney’s first album came out when he was sixteen and around that time supposedly “toured” with legends B.B. King and James Brown, although can’t find any specifics.  He shares writing duties here with Kevin Griffin (formerly of Better than Ezra), and it’s a partnership that feels very fruitful going forward. Pretty excited about this find! 

Pigeonhole: pop-rock, blues-rock


Stumbled upon the brother and sister duo Angus & Julia Stone and found their 2017 full-length album Snow thoroughly enjoyable. The Stones have won several Australian versions of the Grammy Award, but their American exposure has been limited to appearances at Coachella, Bonnaroo and Austin City Limits. “Sleep Alone” is a real standout. It’s a quiet little journey with Julia’s baby girl voice leading to a terrestrial ending, trailing off to a drumbeat that lasts nearly a minute. Also really enjoyed “Chateau,” “Snow” and “Nothing Else.” Then, then, then! It got better. Gave Down The Way (2010) a spin and, boy it’s wonderful, particularly a huge section of the middle. The opening tracks (“Hold On” and “Black Crow”) are fine, but they seem to only offer momentum for what’s to come. Starting with “For You,” this album gets really good. “Big Jet Plane” is wonderfully and the only recognizable song. “Draw Your Swords” is chillingly beautiful while “Walk It Off” is a great piece about having the last laugh in a dysfunctional relationship. A very victorious feel to it.  

Walk it off now
You can tell them all how much I let you down
Walk it off dear
Standing here with your tail between your legs

Pigeonhole: Lo-fi, chill, folk rock


What better time than now for Green Day to offer a sequel to American Idiot, the 2004 album (turned musical) that so brilliantly addressed an era when wars were started on false premises and imbeciles ran the government. But that’s not what Green Day did on their new, Father of All Motherfuckers. This isn’t a statement album. Fans who like Green Day because they’re in your face and offer no apologies should like what they find here. In fact, there aren’t many surprises to this, their thirteenth album. It’s still don’t-give-a-shit rock n roll. This rapid-fire, post-grunge collection makes its point in just over twenty-six minutes, spits a loogie in defiance, then storms off. Lead singer Billie Joe Armstrong and his mates seem to defy age, hitting hard with songs like “Stab You In The Heart” and the title track.  “Oh Yeah” might sound familiar to people of a certain generation. It samples Joan Jett’s 1980 version of “Do You Wanna Touch Me,” a song (I didn’t realize) that was originally released by English glam rocker Gary Glitter, who was later convicted of rape (which makes the title even creepier). Proceeds from the song are being donated to a sexual assault victims organization. Green Day will probably become the Rolling Stones of their era, a band that defies age, keeps giving fans what they want, and never goes away. More power to ‘em!

Pigeonhole: Rock, grunge


Radiohead guitarist Ed O’Brien will release the solo album Earth this April under the name EOB.  If the three singles are any indication, it should be a mighty delicious collection. The latest release, “Shangri-La,” is ripe with layered hooks and feels very much in keeping with Radiohead’s aura.  “Brasil” (the Portuguese spelling) was released last December and is really two different songs, a methodic acoustic half with unfiltered vocals that leads into a pulsating electronic second half. The trippy and psychedelic  “Santa Teresa” was the first single (last October) and is so soothing it’d be perfect while getting a massage in a med spa. O’Brien is credited with most of the instrumentation on these cuts. He worked with legendary English producer Mark “Flood” Ellis and engineer Catherine Marks here. Can’t wait for the rest of it.

Pigeonhole: Alt-rock, electronic, experimental


Hearing “Enough for Now” by Ethan Gruska on this day, when I’m feeling particularly self-reflective, felt very on the nose. The chorus seems to have the perfect answer to the question: Am I okay with where I am right now?  

Maybe I’ll try
Maybe I’ll die trying
To let this be enough
For now
I won’t wish for better luck

Being content with the way things are is such a nice idea, particularly when sung so convincingly. This duet with singer-songwriter Phoebe Bridgers is by far the highlight on En Garde, which was just released in January. Gruska’s father is Emmy-nominated composer Jay Gruska, who scored for such television shows as Charmed and Supernatural. And (get this) Ethan’s maternal grandfather is the legendary film composer John Williams. This is Gruska’s debut album, after collaborating last year on a project with Fiona Apple. With all that star power behind him, maybe Ethan’s next stab at a solo effort will grab me more.

Pigeonhole: Indie-pop, indie-folk


When I think of grunge granddads Stone Temple Pilots the last thing that comes to mind is ballads and flute solos. But there’s plenty of both on their newest release Perdida. Translated from Spanish, perdida means “lost,” which naysayers might see as an appropriate description for this latest effort. But for me, it delivers far more than I would have predicted. I like STP when they’re in full head-banging mood, like “Vasoline” or “Interstate Love Song.”  But they seem far more comfortable at this quieter pace than I would have guessed. There are more surprises on this eighth STP album than just the flute, like violins, cellos and even a fretless zither. If you try and forget that you’re listening to the Stone Temple Pilots, and all the preconceived notions that come with that, this is an enjoyable collection. “She’s My Queen” and “Sunburst” are notable standouts. STP is on their third lead singer (Jeff Gutt) and he does an admirable job. But can anyone really replace the late great Scott Weiland

Pigeonhole: Alt-rock, grunge


One of my favorite newcomers last year was the 21-year-old genderqueer artist Mikaela Straus, otherwise known as King Princess. I found each cut on her full-length LP Cheap Queen really good. Two years ago her career took off with her first-ever single “1950.” When Harry Styles (formerly of One Direction) mentioned the song in a tweet, King Princess went viral and quickly found herself on Colbert and SNL. The deluxe version of Cheap Queen came out yesterday and includes five unreleased songs, including “Ohio,” a heartache ode to a lover who has moved away to the Buckeye state. I’m still waiting for these new songs to grab me, like pretty much everything else did on Cheap Queen. At less than two minutes, one feels unfinished (“All Dressed in White”) another just falls flat (“Back of a Cab”). “Best Friend” is the best of the four, but doesn’t add anything to the brilliance of the original thirteen-song collection of Cheap Queen. She’s still a budding superstar, far more interesting to me than Billie Eilish, who’s taking up most of the oxygen in the young female category these days.

Pigeonhole: Indie-pop, pop-rock


The new album from house giant Tame Impala was slated for release almost a year ago, but a last-minute decision was made that it needed more work. The release was aborted, a listening party was held and the feedback was used to make adjustments. If the single “Borderline” is any indication, the delay and tinkering didn’t help. Last year’s “Borderline” is much stronger than the one released today on The Slow Rush. It’s thinner and not as robust as the 2019 single. This is the forth album from the Australian mastermind of Tame Impala, Kevin Parker. Expectations were unrealistically high after the huge success of 2015’s Currents. But the new album often feels like background music. The lone standout for me is “Lost In Yesterday,” which is very much in keeping with the Tame Impala sound of the past. I’ll keep giving the rest of it a chance.

Pigeonhole: Psychedelic, experimental


Not sure yet if I love Shamir yet but found most of Ratchet compelling. It kept my attention, start to finish, so that’s something. This Vegas lo-fi indie artist was barely twenty when this came out, and he’s since released three other albums. I started here since it made a few top albums lists for 2015.  Several highlights, but I’ll call out “Head In The Clouds,” because it’s a truly killer dance jam. I’ll take another pass, when I’m not so tired.

Pigeonhole: Indie rock, electronic, hip house


Moses Sumney’s new single “Cut Me” just dropped and it’s another incredibly complex piece from this emerging superstar. This is the fourth song to be released from his upcoming double album, which Sumney has described as “a patchwork about grayness.” “Cut Me” is a multi-dimensional song, textured with a horn section and violin, and shows off his incredible voice, particularly in falsetto. Prince was arguably one of the greats of his time and for some reason it seems like Moses Sumney has arrived to carry on where Prince left off.  Not that there’s much similarity in their music. But Prince was groundbreaking, he did things musically that no one else could do. The same is true about Sumner and his unbridled musical imagination. 

Pigeonhole: Indie rock, electro-soul, folk art rock, baroque pop


Caroline Polachek was brought to my attention originally through the incredible song “Go As A Dream.” Now, hearing the rest of Pang and discovering the true depth of Polachek’s talent. This former member of Chairlift has trained with opera and baroque vocal coaches, which might explain some of her vocal dexterity. There are times (“Look At Me Know”) when the music feels almost superfluous because her voice is so intoxicating. The title tack sounds like what a pangshould sound like, a persistent ping with sudden and periodic explosions. Like hunger pangs or love. The haunting “Insomnia” is simply otherworldly. Maybe the best example of her boundless range is “Caroline Shut Up.” There is nothing I can say about a song like “Door” that wold do it justice. I can’t even pick a favorite line, so I’ll go with this one: “The door slams hard behind you/When you leave the house of judgment.”The production genius of this collection also can’t be understated. There are moments that sound fully orchestrated while other times the production is noticeably sparse. The album ends with a song called “Parachute,” which offers the sense of slowly being let back down to earth. This collection is so beautiful, and the ending so apropos, it just might make you weep. I can tell by her description in “Parachute” that she’s probably talking about the same place I went skydiving, near Camarillo. This imagery is so lovely it’s like taking the jump all over again. Polachek also produced this record, so her musical instincts are apparently limitless. There’s more to explore! Polachek has also recorded under the names Ramona Lisa and her initials CEP which will certainly get a listen soon. 

Pigeonhole: Electropop, art pop, indie pop


I claim to be a huge Wilco fan although I have to confess before tonight I had never heard Star Wars. I’m an old school Wilco fan. I’ve been listening to these guys since they were Uncle Tupelo. They’ve always been an abundantly talented group of songwriters and musicians, even though there are times they lose me. I checked out after 2002’s Yankee Hotel Foxtrot, which is among my favorite records ever. But the follow-up album didn’t grab me. And I can’t warm up to last year’s Ode to Joy (which is anything but joyfull). Schmilco from 2016 had some moments, but often left me emotionless. So I’m thrilled to find Star Wars because it sounds like the Wilco I fell in love with. There’s a splendid surprise around every corner. “Random Name Generator” is among the best songs Wilco has ever recorded (and that’s a damn long list), while “You Satellite” is equally extraordinary and could just as easily be Lou Reed and the Velvet Underground I’m hearing. The way Tweedy builds the tension over five minutes is pure genius. “Pickled Ginger” is a guitar lovers wet dream.  “Cold Slope” is yet another classic Wilco tune. It’s only a thirty-three minute album, but a lot happens in a short time. Maybe someday the boys will get back to this kind of sound. 

Pigeonhole: Alt-rock, alt-country, art rock, experimental


I wasn’t overly familiar with Britpop group Blur until today. I liked a few of their singles over the years, specifically “Song 2” and “Girls and Boys.” When it came to the old rivalry between the two Brit heavy weights of the Nineties, Blur and Oasis, I guess I was on team Oasis. But took a listen to Blur’s 1994 record Parklife and found it utterly satisfying. Damon Albarn is an incredible vocalist and he brings added texture to these songs even when he’s essentially screaming. Certain cuts are instantly lovable, like “London Loves” and “Tracy Jacks,” both perfect mixes of jangly guitar and delicious synth. “To The End” flirts with excess (a string section and French backing vocals) but ultimately pays off. My original intent was to hear Blur’s 2015 The Magic Whip,which I eventually did. It followed a twelve-year recording absence and materialized in Hong Kong (thus the Chinese lettering on the cover) after the band was stranded there following a cancelled festival appearance. There’s a lot to like here, particularly “Go Out” and the breezy “Ong Ong.” Albarn is busy with his other project, the “virtual band” Gorillaz, which is releasing one song a month this year. “Momentary Bliss” featuring rapper Slowthai came out a couple weeks ago and it’s, ah, fine. Having said all this, Parklife is what I’ll return to most going forward.

Pigeonhole: Britpop, indie rock


Thrilled that Christine and the Queens have released a new single, “People, I’ve been sad.” Her 2018 album Chris was probably my favorite record of that year and this new single picks up seamlessly from there. Her crystal clear vocal mixes are as wonderful as ever, and again finds her transitioning between French and English. Her melancholy take on the world feels heartfelt. Also familir is her call-and-response with the background singers. This new tune leaves me anxiously awaiting the new, full-length album to follow.

Pigeonhole: Synth-pop, electropop


Twenty-three year old Alexander Crossan better known as British electronic producer and musician Mura Masa released his second album, R.Y.C., today. There are times I feel two generations removed from the message here, but I love it just the same.  There’s plenty of generational content that’s not meant for people my age. “Everybody do the no-hope generation/The new hip sensation craze sweeping the nation.” Or: “We’re missing out/So young and full of doubt.” And again in the spoken-word song “a meeting at an oak tree” (all lower case), where tells a story about getting caught sneaking into his girlfriend’s room, then leaves through the bedroom window when her dad comes in and moments later calls from down the street saying, “come as soon as possible and please bring me a banana.” Relatable if you’re in high school, I guess, but the songs pull me in.  Particularly like the contributions by female vocalists. “In My Mind” is a wonderfully trippy song powered by a pleasant pulse. The single “Teenage Headache Dreams” is a duet with Ellie Rowsell from Wolf Alice, and is wonderful. The final cut “nocturne for strings and a conversation” (also all lower case) is like feeling morphine kick in.  It eases the listener out of one experience and into some other dimension. A quick pass through Mura Masa’s only other record, released when he was eighteen years old, did nothing for me. He’s come a long ways in five years.

Pigeonhole: Nu-disco, Alte R&B


This is why I comb through records, year by year, to see what I missed while I was busy doing other things. Ludic Navarre came to my attention today now that 2015 is my current year in review. Better known as St. Germain, this French DJ and producer has been melding nu jazz and house since the early Nineties. This self-titled album was heavily influenced by the music of Mali and for lack of a better description it could be categorized under deep house. The use of exotic instruments and multi-cultural inflences make this unlike anything I’ve ever heard. Jazz elements with African percussion beat, this album features kora (a Mandinka harp built from a small calabash cut in half and covered with cow skin) a n’goni (a West African lute guitar), with electronic sequences and layers. The opening track “Real Blues” features the great blues legend Lightin’ Hopkins on vocals. “Hanky-Panky” follow with a nice east Indian flavor. There’s a short calming moment at the beginning of “Family Tree,” a nearly eight-minute piece, before a male voice pours a sweet chant on top of a gathering beat. “Mary L” starts like a horror flick then segues into another smooth after-hours jazz vibe. I can’t say enough about this album. But I’ll stop for now.

Pigeonhole: Nu-jazz, downtempo, deep house,


Noticed the name C.W. Stoneking on the Troubadour schedule and, being unfamiliar, I went directly to the ol’ music library in my pocket. Turns out Stoneking is quite the big deal in his native Australia. The 45-year-old “neo” blues singer and guitarist could easily be confused with the Delta bluesmen of the twenties or thirties. There are moments on Gon’ Boogaloo (2014) where he seems to channel the great blues legend Robert Johnson.  He tours with a clever mix of tuba, cornet and trombone. This record was recorded in only two days and is simply Stoneking on guitar accompanied by bass, drums and backing vocals, all of them huddled around two microphones. Tom Waits and Leon Redbone came to mind at times. But despite all the apparent influences, there’s something refreshing unique about Stoneking. This feels like a dying genre, so it’s nice to see someone still breathing life into it.

Pigeonhole: Blues, vaudeville blues, calypso, lo-fi


Just found out the legendary Sleepy LaBeef died the day after Christmas at the age of 84. There was nobody else quite like Sleepy LaBeef. He was the Jerry Lee Lewis of guitar. An old-time rock ‘n’ roller (his first single was in 1957), LaBeef was a little bit rockabilly, a little bit honky-tonk and a whole lot of fun. His massive frame (6-foot-6) and a booming bass voice took over any room he played. He released some wonderful studio albums, the 1994 Strange Things Happening being the best. But his true genius was on stage. The 1987 live recording Nothin’ But The Truth remains one of my all-time favorites and includes the delightful (and perhaps autobiographical) “Boogie and the Wayside Lounge.” Of course time is a cruel beast. I listened to the soundtrack from the 2013 documentary Sleepy LaBeef Rides Again, also a live recording but lacking the punch of the 1987 show. His last studio album Rides Again from 2012 demonstrated how things had changed. Despite health problems, he was gigging right up to the end. His last performance was four months before he died. Saw him in a small bar in Tempe, AZ, sometime in the late Eighties and will never forget it. RIP sir. 

Pigeonhole: Rockabilly, honky-tonk, country rock


Again, no politics here. But I’m fascinated by the drama of the moment in Beach Boys land, specifically that the Mike Love-led Beach Boys are scheduled to play a convention for a group that promotes trophy hunting, which has Brian Wilson in a tizzy and asking people to sign a petition to stop the concert. That’ll be a fun one to watch, but in the meantime it reminded me to return to The Smile Sessions, a box set from 2011 that includes the legendary recordings from the late Sixties which were never officially released. There are plenty of extras included here, and totals forty cuts in all. At two hours and twenty minutes, it needs to be heard in installments. Entirely written and produced by Wilson, it is a fascinating collection of sound, some of it ambient, some of it found, some of it studio chatter. Other than the ubiquitous “Good Vibrations,” most of these songs are obscure to the casual listener. I’m not a huge Beach Boys fan but every time I hear them I’m amazed at what they could do, particularly vocally. Sometimes like a dream, sometimes like a circus, The Smile Sessions is ultimately complex and delightful. But Smile for me is like a great novel that I only need to read one time. That said, it should be heard by anyone interested in music and the history of rock. I now feel compelled to hear Smiley Smile (1967), the official Beach Boys record from those sessions, as well as Wilson’s 2004 Brian Wilson Presents Smile, which is his fresh take on the original instrumental and vocal arrangements.  

Pigeonhole: Rock, pop rock, surf, psychedelia


I loved Amber Mark’s 2018 EP Conexão and am stoked to hear her new single, “Generous,” picks up right where she left off. It’s a sexy bedroom groove that references 50 Shades of Grey and kicks off with the line: “First let me give your eyes a taste/Of what’s underneath this lingerie.” Comparisons to the legendary Sade could certainly be forgiven and were perhaps fueled by her cover of Sade’s “Stronger than Pride” on Conexão. A fan of the legendary composer Henry Mancini, Mark wanted to sample his work and does so here with a snippet from “Lujon.” A gifted songwriter, producer and performer, it feels like Mark is just getting started.  She’s booked at Coachella this spring.

Pigeonhole: R&B, alt-R&B


My introduction to DMA’s came today with two just-released singles. Instantly drawn in by the throb beat of “Life Is a Game of Changing,” which eventually builds into a soaring dance number. The other single (“Silver”) took a moment to come together but it eventually did, thanks to a catchy chorus. DMA’s is a three-piece rock band formed in 2012 in Sydney Australia. Before now their best-known song was “Delete,” a simple acoustic guitar arrangement paired with the gentle vocals of Thomas O’Dell. The comparisons to Liam Gallagher of Oasis are definitely warranted. DMA’s only full-length record came out in 2016 and feels poppier, but still worth a listen. Heard some Matthew Sweet in O’Dell’s vocals on the opening track “Dawning.” Their rendition of Madonna’s “Beautiful Stranger” from last year’s MTV Unplugged session is terrific, as is their incredible cover of Cher’s “Believe” on the Australian radio show Like A Version (available only on Youtube, that I could find).  Hmmm. A band that covers gay icons like Cher and Madonna might be signaling something. Or maybe nothing at all. Who am I to say. I’m just glad the DMA’s are now on my radar.

Pigeonhole: Britpop, indie rock

January ’20


Brittany Howard’s debut solo album Jamie is an incredible collection from the former front of the Alabama Shakes. It seems the Shakes may be done shaking now that Howard’s getting widespread acclaim as a solo artist, in addition to working with two other bands, the Bermuda Triangle Band and Thunderbitch. The wonderfully aggressive “13thCentury Metal” is like a manifesto of hope. “We are all brothers an sisters” she repeats over and over, becoming gradually more insistent as the buzzy background builds. “Goat Head” was inspired by an incident in her childhood. She was raised in Alabama by a white mother and a black father. One night the family’s car tires were slashed and an actual head of a goat was left in the back seat.  The album was titled for Howard’s late sister. The two girls were very close when Jamie tragically died at thirteen of retinoblastoma, a rare pediatric eye cancer. Howard has a lot to say on this album. “Stay High” is perhaps my favorite Howard song ever, not to mention the perfect song for a toke (“I already feel like doing it again”). “We smile and laugh and jump and clap/And yell and holler and just feel great.” Amen sister! This album cements Howard’s place amongst the great talents of the last decade.


Somehow it’s been thirty-six years since the Pet Shop Boys hit it big with “West End Girls” and there’s no sign of them slowing down. Hotspot is the British synthpop duo’s fourteenth album and it’s vintage Neil Tenant and Chris Lowe. One reviewer lauded its  “potential joy amid a backdrop of dread.” Which I guess has been the Boys’ tenor all along. The slow-motion “You Are the One” is a sweet love song enriched by the clarity of the sixty-five year old Tenant’s vocals.  The single “Dreamland” is a collaboration with fellow English electropop Olly Alexander from Years & Years and enjoyed some crossover success late last year. There are weak spots (“Hoping for a Miracle”) but for the most part there’s a lot more to like than not here. The Boys have always had a significant gay following and it’s nice to see a tip of the hat on songs like “Wedding in Berlin,” where an infectious dance beat is interrupted with sporadic traditional organ chords of Mendelssohn’s “Wedding March” to the lyrics “We’re getting married/A lot of people do it/Don’t matter if they’re straight or gay.” 


Sexy new single by Bronze the Whale dropped today with an extra special soothing groove. “Austin Is Fading” shows off this indie duo’s electronic scope. Gave a listen to their last full-length LP The Shape of Things and found it a chill and enjoyable ride for the most part. “Cruising” kicks things off with a sweet synth beat over soaring vocals. They utilize a nice voice box effect on “Patterns” which was a nice throw back to the Peter Frampton days. 


And since I’ve wandered accidentally into a disco moment, I’ll mention De Lux, a post-disco DIY duo from Los Angeles.  A couple weeks ago they released the single “Cool Up” which really struck a retro chord with me, so I anxiously checked out their full-length More Disco Songs About Love, and found a few nice moments despite the ridiculous song titles. There are times when the comparison to the Talking Heads and David Byrne seems fair, like in “Writing Music,” or the most-recent single. Still, it might be a little premature to bring up such legends. 


Call it manipulative marketing but releasing Poolside’s latest single in the middle of winter is kind of brilliant. “Around the Sun” is happy and harmonic and ultimately transported me to a Malibu beach party in July. Even the band’s name feels summery. I liked it so much I rushed over to check out their 2012 debut Pacific Standard Time and found it an incredible display of electronica. DJ Jeffrey Paradise and bassist Flip Nikolic said they wanted to make a “groovy, daytime disco album.” While I’m not sure how disco is different in the daytime, I can’t argue with the motivation, or the outcome. “Can’t Get You Off My Mind” is even sprinkled with what sounds like breaking waves, or perhaps that’s just where my brain took me. Can’t wait to hear “Golden Hour” at the beach sometime soon. Other highlights include “Between the Dreams,” “Why You Wanna,” “California Sunset” and “Lightenup,” although all of it is wonderful. I don’t always love covers, particularly without a fresh take. But Poolside’s cover of Neil Young’s “Harvest Moon” is a phenomenal interpretation of an already brilliant song. No doubt long-time fans are thrilled to have “Around the Sun” while they eagerly await what is soon to be a new full-length record.


Wandering the vinyl section at Amoeba’s in Hollywood and randomly picked up Weighing of Heart by Nabihah Iqbal. Never heard of this British-Pakistani producer, nor by the stage name she once used, Throwing Shade. This record from 2017 offers a super cool indie electronic sound behind new wave-ish beats. Particularly enjoyed “Zone 1 to 6000″ and its sober take on the monotony of life (“Escape on Friday, get caught on Monday.”) Sadly I can’t find an explanation for the term Zone 1 to 6000. The opening track, “Eden Piece,” is a dreamy piece with subtle piano tappings. Iqbal appears to be somewhat influenced by New Order (see “Saw U Twice”), or at least I was pleasantly taken in that direction. Full disclosure, I didn’t buy the vinyl version, although the cover is stunning in its simplicity and was the reason I picked it up in the first place.


Bob Mould has released nine full-length records since the last time I paid attention to him. The two records he did with Sugar in the mid Nineties remain among my all-time favorites. But the only solo album of his I was aware of until tonight was Black Sheets of Rain, which didn’t grab me like his Sugar songs did. Gave a listen to Mould’s 2016 Patch The Sky and was pleasantly surprised to hear Bob can still destroy it on guitar. His rifts are so unmistakabley Bob Mould they might even be thought of as formulaic.  But hard driving, distorted guitar jams are his thing. Conversely his vocals can feel almost comforting at times against a backdrop of such pounding rhythms. He has one speed: blistering (with a couple exceptions). But that’s why his fans love him. We want red meat and Bob Mould (still) delivers.


I glanced at the McDowell Mountain Music Festival (M3F) lineup with particular interest since it’s held in my hometown (Phoenix) and seems to get bigger every year. Not that I’ll ever go back and attend. My days at huge music festivals are probably over. I love hearing bands live, but everything else involved in getting there and out sounds like a royal pain. Plus, my home is comfy and my headphones are good so I can have an amazing musical experience without leaving my apartment. Like I did today, listening to Set In Stone by Stick Figure, who are scheduled at M3F along with Bon Iver, Rufus du Sol and a bunch of others. I picked this 2015 record because most of the top songs on Spotify are from it (and not last year’s Word on Fire). I soon found out why. Set in Stone is exponentially better. I can’t help but call them white boy reggae, or maybe reggae light is more politically correct. Either way, if you approach it without any preconceived ideas about reggae, you’ll probably find a lot to like. My favs are “Sounds of the Sea,” “Choice Is Yours” and “Out the Door,” but it’s all really good, despite being mostly monotone. My tolerance for sustained reggae beats is pretty low, but I’ll have a hard time over dosing on Set In Stone.


I’m reading a collection of Lester Bangs columns he wrote in the early ‘70s for rock zeens Creem and Rolling Stone and in one of them he describes how thousands of kids had skipped school in Detroit to line up for Jethro Tull tickts and, when it quickly sold out leaving thousands empty handed, a near riot broke out. Bangs goes on to describe Tull frontman Ian Anderson as a “wild-eyed waistcoat-tail-whipping dervish who played long, violent, echo-chamber flute solos as if he were boxing with the instrument.” Oh, to be Lester Bangs. I was aware of Jethro Tull’s status in the annals of rock history, but I’d never heard an entire album of theirs. So I chose Thick as a Brick (1972), mostly because of the gimmick: one song spanning both sides of the album. I was familiar with the “radio version,” about three minutes long. But the official runtime is nearly forty-four minutes, and it’s a flaunting display of musicianship that should qualify as a rock opera. Conceived as a parody, Thick as a Brick was the band’s response to complaints that their previous album, Aqualung, was a “concept album.” Inspired by their fellow Englishmen in the comedy troupe Monty Python, Thick as a Brick weaves a narrative that’s deeply compelling, backed by a musical “score” that’s nothing short of profound. The 25th Anniversary re-release includes a live version (well, twelve minutes of it) recorded at Madison Square Garden in 1978. There’s just enough crowd noise in the mix to make you feel like you’re in that moment, and it’s superb. 


It’s been twenty years since I paid much attention to Freedy Johnston, so I didn’t have high hopes when I stumbled upon his 2015 release Neon Repairman. Even musicians I love eventually seem to fizzle out. But not Freedy. This obscure folkrock singer released a ton of great stuff in the Nineties and was considered among the consummate songwriters of his era. Can You Fly from 1992 was one of my favorites at the time (it’s sadly not available on Spotify; I was forced to reminisce via Youtube). His voice and songwriting chops are as solid as ever on Neon Repairman. The title track is a haunting piece that’s typically Freedy, which is to say rather poetic. The protagonist repairs what brings light to others, despite being in the dark and behind the scenes himself. The harmonies on “Baby, Baby Come Home” are pure perfection. He can follow up a simply little ditty like “Broke Street Light” with “The First to Leave the World,” a song that makes you stop and wonder what exactly he means by “the first to leave the world is the first to see the world.” But that’s what Freedy does best, offer up wonderful little songs that make you think. I’m so glad to hear nothing has changed with Freedy Johnston. Sighhhh.


In passing the Black Pumas might sound like another respectful throughback to the Sam Cooke and Al Greene eras. Yet there’s something remarkably original about their funk-soul self-titled debut. Not long ago, frontman Eric Burton was strumming for cash in front of an open guitar case on the Santa Monica Pier before somebody suggested to producer Adrian Quesada that he might be the perfect fit for Quesada’s project. The two joined up in 2017 to form the Pumas and just like that they’re up for a Grammy. The deeply soulful “Colors” with its call for unity drew widespread attention to the record. But all ten tracks are fantastic. Of particular note is the haunting “OCT 33” (a love song about a day that never comes?). For my money, the Black Pumas should win this Grammy, but they’re clear underdogs in a field with Billie Eilish, Lizzo and Lil Nas X. Not surprisingly the Pumas are scheduled to appear at Coachella this year.


Fell into a Dwight Yoakam rabbit hole and found Swimmin’ Pools, Movie Stars… I’m not sure anyone in modern music has aged better than Dwight Yoakum (other than, of course, Dolly Parton). This is essentially a thirtieth anniversary album consisting of previously released Yoakam songs (plus a nice rework of Prince‘s “Purple Rain”) all backed by a bluegrass band.  There’s still Yoakam’s hillbilly Bakersfield feel and plenty of beautiful picking and strumming. He reprises “Two Doors Down,” one of the great drinking/heartache songs of all time. This version is solid, and Dwight makes a clear case that his vocals are as strong as ever (it’s not an easy song to sing). The strings and backing vocals are nice. But I’ll always go back to the original, from This Time in 1993. Is there an alcoholic alive who can’t relate to this song? Swimmin’ Pools is an outstanding freshening up of Yoakam classics. And in keeping with tradition, his cowboy hat remains permanently affixed (at least in public). In case you’re wondering, his only remaining hair is what’s poking out around the edges.


Listening to British psychedelic pop band Glass Animals is a little like taking a magic carpet ride. How To Be A Human Being (2016) begins with the gentle strumming of harp strings before a tribal beat takes over and launches us into a grove that foretells things to come. So many great cuts here, but particularly liked the album closer “Agnes,” a dreamy mix of sound that ultimately leads to a catchy chorus. The tone contradicts the song’s narrative, that of loss of a loved one via suicide. The rich synth beat backs the painfully beautiful lyrics: “Guess life is long when soaked in sadness/On borrowed time from Mr. Madness.” The disc is otherwise a trippy pop experience, rich with images of sonic ray guns, cookies as drink coasters, pineapples in the head, and eating mayonnaise out of a jar. What, you might be asking, does all this mean? I’m not sure it matters, because this record is as fun to “see” as well as hear. Their debut ZABA in 2014 is solid, too (particularly the cuts “Gooey,” “Hazy” and “Toes”). But overall I think I prefer this most recent disc. Look for Glass Animals at this year’s Bonnaroo and Okeechobee festivals.


Circles by Mac Miller was released yesterday after more than a year in production following the twenty-six year old’s accidental drug overdose in 2018. The mood on Circles is mostly lo-fi and chill while the companion, 2018’s Swimming, was a more rap influenced disc, with contributions by Snoop Dogg and Thundercat. The premise of two discs was to explore two distinct musical styles, like swimming in a circle. On Circles, anxiety and a cluttered mind are constant themes, set to infectious grooves spanning rap, funk, and trip-hop. On “Good News” he laments: “I spent the whole day in my head/Doin’ a little spring cleaning/I’m always too busy dreaming. I assume producer Jon Brion deserves considerable credit, since he took over this project after Miller’s death. Brion has worked with such introspective artists as Rufus Wainwright, Aimee Mann and Fiona Apple, making him the perfect person to continue with Miller’s vision here.


I usually hear enough music every day to stumble across something worthy of praise or condemnation. Today was not one of those days, and I’m nearly into my third hour of trying. I liked Black Focus by Yussef Kamaal, but it’s a jazz album and I can’t make an educated assessment of most jazz. I hear it, I like it, but I don’t really know good from bad. In a genre more my speed, gave Band of Horses a spin, specifically Why Are You Ok (2016). Definitely has its moments, although I didn’t really start connecting until the forth cut, “Casual Party.” It seemed to blossom a little from there. “In A Draw” is catchy with nice harmonies. “Whatever, Wherever” is quite lovely. But I’m not overly excited by the Horses, although I haven’t written them off, either.


More than a little intrigued by James Hamilton Leithauser after hearing his 2016 collaboration with Vampire Weekend member Rostam Batmanglij. Leithauser once fronted a band I’ve never heard of, The Walkmen, and recorded seven albums with them. From this collaboration with Batmanglij, the song “1000 times” seems familiar and likeable. The best cut is the woozy and instantly memorable “Rough Going (I Won’t Let Up).” Like a drunken swagger it features what sounds like a harpsipiano and a bar full of people partying, even clinking glasses! Ultimately a saxophone breaks in for a fun impvo that winds down with a sloppy group clap and sing along. Beware of earworm!


This is a politics-free zone, but I was way too interested in an album released today in support of a 2020 presidential candidate. Bernie Sanders … with the Community is a collection of twenty songs by mostly DIY musicians and bands, none of whom you’ve probably heard of, with such names as Cool Original, Bears, Pleasure Systems and (my favorite name) Blush Cameron. The record is a tough listen, with a couple exceptions. Someone by the name of Dylan M. Howe offers the decent electronica cut “Blush of Youth.” Wild Pink is probably the best known of all the acts with a half million listens. Here he covers “Lonesome Highway” by Shane McGowan of The Pogues. Decent. You can listen to the whole thing for free like I did at, unless you’re eager to support the bands and Bernie.


Trying to wrap up my Top 10 list for 2016 before going live with Music4Savita (side note: purchased the domain name today!). I’d heard and enjoyed several cuts from the rock/folk group The Lumineers‘ second album, Cleopatra. But now I know the rest of it is just as solid, like what Mumford & Sons might be had they not, what, sold out? Petered out? A really special collection of tunes, the inspiration for which came from a conversation lead singer Westley Shultz had with a random taxi driver whom he later dubbed Cleopatra. The experience and the album’s songs were later made into a short film tilted The Ballad of Cleopatrain which the middle-aged woman driver laments the direction her life had taken. The title song begins: “I was Cleopatra, I was young and and actress/When you knelt by my mattress and asked for my hand.” (Note to self: watch the video). Stumbled across the Lumineers’ live set they recorded at the KEXP studio in Seattle and found “Flowers in Your Hair” to be a lovely and fun little song! Digging their vibe, and the cello! 

In more Jim James news, Uniform Clarityis a much better platform for vocals than Uniform Distortion, my least favorite disc of his so far. Maybe one record, with a combination of Distortionand Claritycuts, would have sufficed.


Still in my Jim James moment. After hearing Uniform Clarity I’m considering James for knighthood. This is the companion piece to Uniform Distortion (which came out first), and is an acoustic interpretation of the same songs. I intentionally listened in reverse order, having read about both discs beforehand. I had an inkling of what I might hear on something called Distortion, particularly when it required explanation (my word) with something called Clarity. Wanting to know what I was getting into, I chose Clarity first. At times, particularly in falsetto, I hear my hero Dave Matthews, like on “No Secrets”. Other times I hear John Prine. In “Better Late Than Never” I hear Dylan. Then Peter Himmelman (who I haven’t thought of in years). Then Jeff Tweedy! I mean I think Jim James has a distinctive voice. I know I really like it. But he sure as hell makes me think of a lot of other singers. Most of these songs are stripped down, because, James says, he was going for the effect of early recording technology, “when all you could hear was the truth.” The exception to this rule is “Too Good To Be True,” where he throws in some amazing vocal effects. The last two cuts are not included on Distortion and are both fantastic.


There are so many genres and sub categories of music these days it’s like browsing the paint chips display at Home Depot, each one slightly different enough to warrant its own name. The subset dubstep came onto my radar today while checking out The Colour In Anything by James Blake. Under the electronic dance umbrella, dubstep originated in South London in the late 1990s and is characterized by “sparse, syncopated rhythmic patterns with prominent sub-bass frequencies.” I’m not sure I get this album, although some are clearly impressed. He’s produced for the likes of Kendrick Lamar, Beyonce and Frank Ocean. Most of these songs are nothing more than a vehicle to show off Blake’s vocal chops. So maybe dubstep isn’t for me. But sure do dig the watercolor cover!

The previously mentioned Jim James record Eternally Even continues to astound. His voice is so pleasantly approachable and wispy, often over sustained and hypnotic organ notes. Road tested the entire collection today while biking Venice and Santa Monica boardwalks. Scored a perfect five buds! File under recommended beach/baking accompaniment.  


Who knows where all this artificial intelligence stuff will take us. I mean those sex robots are really catching on I hear. And if we’re switching up how we get off, here’s the perfect “artificial” music to listen to while doing it: Holly Herndon’s PROTO. A laptop and her voice are the only instruments used here, and who knows how much of the voices we hear are actually human. But at the end of the day, it doesn’t matter because it’s cool as hell and brilliantly composed. Can we call it music if everything we hear is created by software? Is it real? Is anything real? Who the fuck cares. It’s experimental, complex and an incredible audio journey. Do yourself a favor. Smoke first. And during.


Listened to Frank Ocean‘s debut channel ORANGE (2012) “start to finish.” I understand the hype now. This disc feels as relevant today as it must have eight years ago, whether he’s lamenting privileged slackers (“Super rich kids with nothing but loose ends/Super rich kids with nothing but fake friends”), unemployed guys mooching off their stripper girlfriends in “Pyramids,” or the hapless manchild pouring out his heart to a Muslim cab drivers (“Bad Religion”). 


Frank Ocean’s Blonde (2016) made a couple different albums of the decade lists. That coupled with the announcement that he’s headlining Coachella, it was finally time for me to pay attention. What I found was an extraordinary body of work. A blend of hip-hop and RnB, Blonde is a deeply moving way to spend an hour thinking about where we are as a people and how we connect, or not. It kicks off with a tribute to several modern-day fallen black heros including Trayvon Martin, the unarmed seventeen-year-old black man who was shot and killed by an off-duty security guard and who became one of the many faces of the tragic modern-day epidemic of excessive force being used against people of color. The album kicks off with Ocean’s seemingly helium-induced vocals, as he sings: “RIP Trayvon, that nigga looked just like me.” This is largely a languid and minimal record that finds Ocean contemplating a variety offsetting emotions, sometimes colored by psychedelic enhancements. Much of it bemoans the ebb and flow of love and lust in today’s environment.In Siegfried, he laments: “Dreaming a thought that could dream about a thought that could think of the dreamer in the thought.” Not sure exactly what it means, but it sure got me thinking. I know I’m late to the Frank Ocean party, but at least I’m here now! You know how you hear a song that hits super close to home at that moment? “Self Control.” That is all.


My Morning Jacket is one of those bands I’ve heard of for years but couldn’t name a single one of their songs. Lead singer Jim James broke off in 2016 to release his first solo, Eternally Even, which made several Best Of lists, so time for me to check him out. First, though, I dipped my toe in the MMJ pool, specifically “Wordless Chorus” and “Touch Me I’m Going To Scream Parts,” parts one and two. Amazing stuff, and totally new to my ears. The last minute of “Touch Me” is mesmerizing, as is the entire eight-plus minutes of it. A faint wa-wa effect gradually slows to a plodding, piano repetition that’s nothing short of chilling. They must be amazing live. More on Jim James later. For now I’ll only say “The World’s Smiling Now” is my go-to, feel-good, the world’s-not-going-to-end, I’m-okay-you’re-okay song right now. So soothing and beautiful. Think I’ll go listen to it again.


I never listened to Van’ Morrison‘s Too Long in Exile when it first came out in 1993, probably because I was deep in my blues phase then. I was a purist, and people like Robert Cray and certainly Van Morrison weren’t real blues guys. Yeah Morrison could display a deep soul when he sang. But he was more jazz than blues. All the blues crossover stuff at the time – from legends like John Lee Hooker and B.B. King — put me off. So I avoided Too Long in Exile, until tonight. It’s mostly straight ahead, polished blues, but the two cuts with John Lee Hooker are exceptional, including “Gloria,” the immortalized song written by Morrison a few months after I was born (damn, Gloria and I are old farts). It wasn’t a blues song then, but he and Hooker collaborate here for a killer interpretation in twelve-bar progression. Unaware until now that “Gloria” was actually the B-side of the single “Baby, Please Don’t Go” by the group Them, which Morrison fronted when he first started out. In a sign of how backwards things used to be, the song was banned in some communities, including the Chicago station WLS, because it contained the phrase: “She comes to my room.” Also, found a loose interpretation by Patti Smith from her 1975 Horses, that begins with the great line: “Jesus died for somebody’s sins/But not mine.”


Nothing could make me feel older than my college hero and former REM frontman Michael Stipe turning sixty, but he did just that this past Saturday. To mark the occasion he released “Drive to the Ocean,” yet another dire warning about global warming set to music (admirably he’s donating the proceeds to Pathway to Paris, an advocacy group fighting for The Paris Climate Agreement). Not sure if I’m sadder about Stipe’s (and my) advancing years, or the song itself, which left me, for lack of a better word, bored.

It’s so new the lyrics aren’t even on the internet yet. So I transcribed them myself and, to my absolute amazement, I understood every word on the first listen! How very un-REM! Among Stipe’s charms were his indecipherable lyrics. In the late Nineties, when I logged on to the internet for one of the first times ever, I googled the lyrics to my favorite REM songs. It was like opening a treasure chest because REM never included lyrics in their liner notes. That coupled with Stype’s mumbling made for some frustrating sing-alongs. “Drive to the Ocean” could benefit from some garbled words (“We stand at the water/The wind and the sun/Where all of god’s creatures/Are gathered as one.”) Yawwwwn. Hey Michael, my good man, the planet needs all the help it can get. Next time, maybe try a little harder.  


When you stumble on the name of a new band three times in a week, maybe it’s a sign that something’s up. The five members of Fontaines D.C. met while attending a music institute in Dublin and initially released a collection of poetry before collaborating on something musically. The name came from Fontaines the character in The Godfather, and Dublin City. Their first full-length album, released last April, is titled Dogrel, an homage to a working-class poetry known as Doggerel, characterized by irregular rhythm and rhyme. It’s post-punk, garage rock in your face sound is reminiscent of The Pogues or dare I say The Clash. Grian Chatten’s thick Irish accent and monotone delivery even deepen the authenticity. In a statement the band says the album is “about the weight of the world that’s pressing against you, and struggling to find a balance, an equilibrium.” Sounds super relevant. Today’s introduction to the Fontaines is like finding something I’d misplaced thirty years ago. It’s simply phenomenal. Can’t get enough of the spastic “Boys in the Better Land” (“If you’re a rock star, porn star, supersar/Doesn’t matter what you are/Get yourself a good car, get outta here.” The opening track (“Big”) clocks in at less than two minutes but packs a lethal punch and portends the poetic lyricism to come. “Dublin in the rain is mine/A pregnant city with a catholic mind/Starch those sheets for the birdhouse jail/All mescalined when the past is stale, pale.” This album is hard to put down. They’ll be at Coachella this year, btw.  


I’m pretty uneducated in rap. I have nothing against it. I often like what I do hear. But I don’t really seek it out. Tyler, The Creator is categorized as rap, and in fact won the Grammy for Best Rap Album of the Year. But rap only begins to describe it. There are so many compelling layers to IGOR that the end product defies classification. All I know is it’s the closest thing to a rap album I’ve listened to start to finish. And my life is definitely enriched because of it. Playboi Carti joins Dev Hynes from Blood Orange and Charlie Wilson on the incredible single “Earfquake” that pleads for a former lover to return. “Your love is shakin’ me up and it’s making my heart break/Cause you make my earth quake.” There’s lots of heartbreak here, but that’s part of his irresistible appeal. Calling himself The Creator might seem a bit presumptuous, but he does seem to create an experience that’s more than musical. And then there’s the whole persona and theatrics. At first the blond bob wig felt gratuitous until I realized it’s kind of essential. I know I’m the last person on earth to be introduced to Tyler, The Creator, but just in case I’m not, you might give IGOR a listen. It’s phenomenal.


With Australia wild fires turning into a raging inferno from hell, I can’t help but think about all the musicians I’ve loved over the years from that country.The very first concert I ever attended (without adult supervision) was Olivia Newton John, whom I spent many years adoring and whose poster-sized image hung in my dorm room (briefly) until I went in a different Aussie direction, Men at Work. God how I loved Business as Usual! After college was a Midnight Oil phase while INXS was a staple for many years. More recently it’s been TheTemper Trap and Tame Impala. But my absolute favorite Aussie at the moment is Courtney Barnett, specifically her 2015 album Sometimes I Sit and Think, Sometimes I Just Sit. I’ll write more on that album later. Just hoping the good folks down under, and in particular all those great musicians, stay safe and that life resumes as normal very soon.


After three passes through Signal, the debut album from the all female post-punk trio Automatic, I can say I’m sold and can’t wait for more! A product of the DIY community in LA, they did a month of Mondays at The Echo this past summer then released this stripped-down collection a month later. Mostly simply mixes of vocals, bass, drums and lots of synth, there are numerous highlights here, particularly the title track, the mesmerizing “Highway” and the retro buzzy “Too Much Money.” The vocals are mostly in the background in these songs which gives space for the big electronic punch up front. There’s almost nothing written about Automatic on the inter webs. No wiki page yet, however there is not one but two other bands with the same name, and they both have pages! This might be a good time to consider a name change before things explode. Automatic is a stupid name anyway, apparently chosen as some kind of homage to The Go-Gos, the only all-female band to ever have a number one selling album (Beauty and the Beat), which includes the single “Automatic.” One of the few things on line said Automatic is “highly recommended for fans of the Savages, Suicide and NEU! Having never heard of any of those bands, I went directly to the Spotify machine and found an amazing instrumental jam, a song called “Hallogallo” from the German krautrock band NEU! Released in 1972, it sounds nothing like Automatic, but I thank that random reviewer for the non sequitur. NEU! consists of two former members of  the legendary group Kraftwerk, whose work in the early ‘70s in Europe is considered groundbreaking in electronic music circles.


Fell into a George Harrison rabbit hole thanks to The Seventies on CNN, a documentary perfect for burning off a New Year’s Day hangover, although that’s something I haven’t experienced in five years (stupid sobriety!). Anyway, I know less about Harrison’s solo stuff than the other fab three, so I put on All Things Must Pass, his epic triple album from 1970, considered the best of all The Beatles’ solo efforts. Produced by convicted killer Phil Spector, it was a huge hit and spent multiple weeks at the top of the charts. But all these decades later, it just doesn’t hold up for me. The songs are mostly dull, as is the musicianship. There are times it’s downright insufferable, like “Beware of Darkness” and “I Dig Love.” I give Harrison credit fir at least avoiding cookie-cutter pop songs. But what it offers in ambition it lacks in delivery. His voice is mundane and tedious. The most enjoyable cuts are the ones that get the most airplay. It was nice to hear “My Sweet Lord” again, and compare it back-to-back with The Chiffons “He’s So Fine” (the Chiffons successfully sued Harrison for stealing the song, and it’s pretty obvious). But I could have gone the rest of my life without hearing “If Not For You” again. “Awaiting on You All” and the closing cut “Hear Me Lord” are a little too religious-y for my taste. In order to kill some of the two hours it took to listen to it all, I walked back and forth from Melrose to Santa Monica Boulevard, trying my hardest not to hit the fast forward button. I simply endured this collection. It wasn’t until the third disc, subtitled the Apple Jam, that things started to get interesting. Nothing more than four simple, improvised blues jams, they don’t came close to the best blues jams I’ve heard, but still pretty adventurous for a former Beatle.