MANIC STREET PREACHERS
EVERYTHING MUST GO
1996 – EPIC
Produced By MIKE HEDGES
1. Elvis Impersonator: Blackpool Pier
2. A Design For Life
3. Kevin Carter
4. Enola / Alone
5. Everything Must Go
6. Small Black Flowers That Grow In The Sky
7. The Girl Who Wanted To Be Good
8. Removables
9. Australia
10. Interiors (Song For Willem de Kooning)
11. Further Away
12. No Surface All Feeling
One of many rock bands from the nineties who have had much more success in England than in America, Manic Street Preachers has a history that will always center on the strange disappearance of lyricist Richie Edwards in 1995. He simply drove off one day, and has never been heard from since. His work with the Manics peaked on their 1994 album The Holy Bible. By the time Everything Must Go was completed in 1996, Edwards had been gone for a year. And the band’s sound was definitely changing because of it, though Edwards wrote or co-wrote the lyrics to five of the albums twelve tracks. The move from brooding and introspective lyrics to more political and embraceable themes helped bring the band a long awaited success.
Now a trio, the Manics rely on the lyrics of bassist Nicky Wire, while guitarist and singer James Dean Bradford proves to be more than capable in both roles. “A Design For Life”, “Kevin Carter” and “Everything Must Go” are definite highlights, and brought the band a wider (but still mostly British) audience. “Australia” and “Further Away” are also fine tracks. The Manics have so far released 14 studio albums, including 2009’s Journal For Plague Lovers, which features songs with all lyrics written by Edwards. Their continued success in the UK should suggest that maybe we’ve been missing out on something pretty great here in America. If you’re so inclined, Everything Must Go is a fine place to start with this band.
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IRON & WINE
OUR ENDLESS NUMBERED DAYS
2004 – SUB POP
Produced By BRIAN DECK
1. On Your Wings
2. Naked As We Came
3. Cinder And Smoke
4. Sunset Soon Forgotten
5. Teeth In The Grass
6. Love And Some Verses
7. Radio War
8. Each Coming Night
9. Free Until They Cut Me Down
10. Fever Dream
11. Sodom, South Georgia
12. Passing Afternoon
Iron & Wine is the stage name of Sam Beam, an indie folk artist from the Southern United States. His first album was a true solo effort, a demo recorded at his home that found its way to the head of Sub Pop Records. He was also helped by his recording of “Such Great Heights”, which The Postal Service included on their single version of the same song. The second Iron & Wine album, Our Endless Numbered Days, contains the same beautiful playing and melodies as his debut, but it’s helped by the inclusion of sparingly used rock instruments and a professional studio. While this album was a large step forward for him, and received a lot of critical acclaim, it failed to chart pretty much anywhere, but has since become his best selling album.
There are truly beautiful moments here. “Naked As We Came” is a triumph. “Passing Afternoon” features a full band led by producer Brian Deck on piano, and is a lovely track. “Sunset Soon Forgotten” and “Each Coming Night” are also standouts. Iron & Wine continues today, having not only released a handful of solo albums, but also many soundtrack contributions and collaborations with artists like Ben Bridwell and Calexico. His music is reminiscent of Nick Drake and Elliot Smith, and while he has experimented with more electric instruments, it’s back to this more acoustic sound that he seems to always return to. This is a fine album, well worth checking out. You may want to hear more from him.
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INSPIRAL CARPETS
REVENGE OF THE GOLDFISH
1992 – MUTE
Produced By PASCAL GABRIEL
1. Generations
2. Saviour
3. Bitches Brew
4. Smoking Her Clothes
5. Fire
6. Here Comes The Flood
7. Dragging Me Down
8. A Little Disappeared
9. Two Worlds Collide
10. Mystery
11. Rain Song
12. Irresistible Force
In Manchester, England in the late 80’s and early nineties, a new psychedelic rock movement that called itself the Second Summer Of Love popped up, and the Madchester scene was born. The two biggest bands at the center of this were The Stone Roses and Happy Mondays, but it was also the jumping point for groups like The Charlatans, James, 808 State and Inspiral Carpets. But by the time of the Carpet’s third album, Revenge Of The Goldfish, the Madchester movement was already fading, and the band’s biggest days were behind them. And like a lot of British bands from this era, they had minimal success in America. Revenge Of The Goldfish does contain a couple of the band’s better songs, but doesn’t hold up well as a whole.
“Dragging Me Down” is the most interesting track here, thanks to a manic organ riff. “Two Worlds Collide” is also very good, and was their biggest US success. But they never gained a following here, and as their scene faded away, they made one more record and broke up. They did get back together in the 2000’s, but that’s never the same. Still, Revenge Of The Goldfish does rock, and does show why this band was a big deal in the UK, if only for a brief time. If you like this, then try their first two efforts, Life and The Beast Inside. The album cover is noteworthy as well. It’s a photograph by American artist Sandy Skoglund from 1981, also called Revenge Of The Goldfish.
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THE SCREAMIN’ CHEETAH WHEELIES
1993 – ATLANTIC
Produced By PAUL EBERSOLD
1. Shakin’ The Blues
2. Ride The Tide
3. Somethin’ Else
4. This Is The Time
5. Slow Burn
6. Leave Your Pride (At The Front Door)
7. Jami
8. Sister Mercy
9. Majestic
10. Moses Brown
11. Let It Flow
Firstly…I really dislike the name of this band. Putting that aside, this is the self titled debut album from this Nashville Southern Rock funky jam band unit, riding in on the crest of the success of The Black Crowes, along with the 1993 debuts of Cry Of Love and Brother Cane. The Wheelies basically were a dance band for Deadheads who liked their music a bit heavier. This album had small success…it made a blip on the charts and had a minor hit with “Shakin’ The Blues”, which garnered the band some nice opening act slots over the next decade. But overall, while this band has its fanbase, they were never able to reach far beyond the label of funky Southern blues jam band. And their rather unfortunate name.
This album rocks, but the riffs are more for the sake of funkiness and dance grooves than anything else. Yes…you can dance to it. But singer Mike Farris does nothing that Chris Robinson didn’t do a whole lot better, and the songs here don’t really stand out…especially when taken as an eleven song album. It’s basically a Southern rock album based entirely on funk. Which doesn’t work as well as you might think. The Wheelies lasted just over a decade. They released four more studio albums, plus (of course) a couple of live sets before calling it a day in 2005. If the Southern rock revival is your thing, stick to bands like The Crowes and Drivin’ N Cryin.
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FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
THE SCREAMIN’ CHEETAH WHEELIES
1993 – ATLANTIC
Produced By PAUL EBERSOLD
1. Shakin’ The Blues
2. Ride The Tide
3. Somethin’ Else
4. This Is The Time
5. Slow Burn
6. Leave Your Pride (At The Front Door)
7. Jami
8. Sister Mercy
9. Majestic
10. Moses Brown
11. Let It Flow
Firstly…I really dislike the name of this band. Putting that aside, this is the self titled debut album from this Nashville Southern Rock funky jam band unit, riding in on the crest of the success of The Black Crowes, along with the 1993 debuts of Cry Of Love and Brother Cane. The Wheelies basically were a dance band for Deadheads who liked their music a bit heavier. This album had small success…it made a blip on the charts and had a minor hit with “Shakin’ The Blues”, which garnered the band some nice opening act slots over the next decade. But overall, while this band has its fanbase, they were never able to reach far beyond the label of funky Southern blues jam band. And their rather unfortunate name.
This album rocks, but the riffs are more for the sake of funkiness and dance grooves than anything else. Yes…you can dance to it. But singer Mike Farris does nothing that Chris Robinson didn’t do a whole lot better, and the songs here don’t really stand out…especially when taken as an eleven song album. It’s basically a Southern rock album based entirely on funk. Which doesn’t work as well as you might think. The Wheelies lasted just over a decade. They released four more studio albums, plus (of course) a couple of live sets before calling it a day in 2005. If the Southern rock revival is your thing, stick to bands like The Crowes and Drivin’ N Cryin.
I bought this album immediately after hearing Shakin' the Blues on the radio. While much of the rest of the album runs in a slightly different vein, I ended up loving the whole thing and listen to it regularly to this day. It rocks with a groove and while I'm not generally into the more southern hippie sound of some of the songs, this works well for me and I'll take this over the Crowes any day.
Oh, and I dig the band name as well. But then I was (and still am) a huge Gary Larson/Far Side fan.
THE SCREAMIN’ CHEETAH WHEELIES
1993 – ATLANTIC
Produced By PAUL EBERSOLD
1. Shakin’ The Blues
2. Ride The Tide
3. Somethin’ Else
4. This Is The Time
5. Slow Burn
6. Leave Your Pride (At The Front Door)
7. Jami
8. Sister Mercy
9. Majestic
10. Moses Brown
11. Let It Flow
Firstly…I really dislike the name of this band. Putting that aside, this is the self titled debut album from this Nashville Southern Rock funky jam band unit, riding in on the crest of the success of The Black Crowes, along with the 1993 debuts of Cry Of Love and Brother Cane. The Wheelies basically were a dance band for Deadheads who liked their music a bit heavier. This album had small success…it made a blip on the charts and had a minor hit with “Shakin’ The Blues”, which garnered the band some nice opening act slots over the next decade. But overall, while this band has its fanbase, they were never able to reach far beyond the label of funky Southern blues jam band. And their rather unfortunate name.
This album rocks, but the riffs are more for the sake of funkiness and dance grooves than anything else. Yes…you can dance to it. But singer Mike Farris does nothing that Chris Robinson didn’t do a whole lot better, and the songs here don’t really stand out…especially when taken as an eleven song album. It’s basically a Southern rock album based entirely on funk. Which doesn’t work as well as you might think. The Wheelies lasted just over a decade. They released four more studio albums, plus (of course) a couple of live sets before calling it a day in 2005. If the Southern rock revival is your thing, stick to bands like The Crowes and Drivin’ N Cryin.
I bought this album immediately after hearing Shakin' the Blues on the radio. While much of the rest of the album runs in a slightly different vein, I ended up loving the whole thing and listen to it regularly to this day. It rocks with a groove and while I'm not generally into the more southern hippie sound of some of the songs, this works well for me and I'll take this over the Crowes any day.
Oh, and I dig the band name as well. But then I was (and still am) a huge Gary Larson/Far Side fan.
Thumbnail. Click to enlarge.
I have a lot of Southern Rock friends...and I have always been in the minority with them about the Wheelies. Sometimes, a band just doesn't work completely for someone. I've just always preferred my Southern Rock to be simpler and more rooted in country.
But, as happens a lot, they may suddenly click for me one day. I hope that does happen! _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
I have a lot of Southern Rock friends...and I have always been in the minority with them about the Wheelies. Sometimes, a band just doesn't work completely for someone. I've just always preferred my Southern Rock to be simpler and more rooted in country.
I can certainly understand that, being a big fan of both The Marshall Tucker Band and The Outlaws.
I have a lot of Southern Rock friends...and I have always been in the minority with them about the Wheelies. Sometimes, a band just doesn't work completely for someone. I've just always preferred my Southern Rock to be simpler and more rooted in country.
I can certainly understand that, being a big fan of both The Marshall Tucker Band and The Outlaws.
...plus Charlie Daniels, The Allman Brothers Band and Lynyrd Skynyrd. _________________ I'm leaning on the threshold
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VARIOUS ARTISTS
BOARDWALK EMPIRE VOLUME 2: MUSIC FROM THE HBO ORIGINAL SERIES
2013 – ABKCO
Produced By STEWART LERMAN & RANDALL POSTER
1. Strut Miss Lizzie – David Johansen
2. Old King Tut – Stephen DeRosa
3. It Had To Be You – Elvis Costello
4. Everybody Loves My Baby – Vince Giordano & The Nighthawks
5. You’ve Got To See Mama Ev’ry Night (Or You Can’t See Mama At Al) – Liza Minnelli
6. Baby Won’t You Please Come Home – Leon Redbone
7. Make Believe – St. Vincent
8. Lovesick Blues – Pokey LaFarge
9. Nobody Knows You When You’re Down And Out – Neko Case
10. Who’s Sorry Now – Karen Elson
11. You’d Be Surprised – Stephen DeRosa
12. I’m Going South – Margot Bingham
13. Sugarfoot Stomp – Vince Giordano & The Nighthawks
14. Jimbo Jambo – Rufus Wainwright
15. There’ll Be Some Changes Made – Kathy Brier
16. Somebody Loves Me – Margot Bingham
17. All Alone – Chaim Tannenbaum
18. The Prisoner’s Song – Loudon Wainwright III
19. I Ain’t Got Nobody – Patti Smith
20. I’ll See You In My Dreams – Matt Berninger
I was really impressed by the HBO series Boardwalk Empire. A trip into the past starring Steve Buscemi about the dark underworld surrounding Prohibition? What’s not to love? This soundtrack album featuring songs from season two is just as cool as the concept of the show. All of the songs here are of the period from the 1890’s through the 1920’s, all are modern recordings made to fit with the time of the show. The band is the same on every track (Vince Giordano & The Nighthawks), giving this record a great sense of continuity. With modern singers stepping into the character of the time, it works really well. You could listen to this and believe it was actually from that period.
The singers are the stars here…stepping into that long ago strange time and sometimes sacrificing their own signature sounds to make the music work. Elvis Costello is magnificent. Liza Minnelli is amazing. St. Vincent does a wonderful job, and even Patti Smith sounds like she would have been right at home in the roaring 20’s. Stephen DeRosa and Margot Bingham acted in the series as performers, and their contributions are exceptional. Soundtracks can be hit and miss…this one is all hit. It’s cool to hear contemporary artists singing songs from and in the style of 100 years ago. Like the series itself, this soundtrack does not disappoint. Not at all.
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CHARLOTTE GAINSBOURG
IRM
2009 – BECAUSE / ELEKTRA
Produced By BECK
1. Master’s hands
2. IRM
3. Le Chat Du Café Des Artistes
4. In The End
5. Heaven Can Wait
6. Me And Jane Doe
7. Vanities
8. Time Of The Assassins
9. Trick Pony
10. Greenwich Mean Time
11. Dandelion
12. Voyage
13. La Collectionneuse
Charlotte Gainsbourg is the daughter of English actress Jane Birkin and one of the most important French musicians of the last century, Serge Gainsbourg. Her music career began with a duet sung with her father, and she has recorded somewhat sporadically ever since. She’s been much busier as an actress, having appeared in nearly sixty films. IRM is her third album, 23 years after her debut. It’s the follow up to 2006’s 5:55, which went Platinum and to number one in France. She collaborated heavily with Jarvis Cocker, Air and Nigel Godrich on that album, and it was well received. IRM brought her continued success, but the album turned into more of a Beck project than her own…she stated that the album was Beck’s point of view of what her life was, not her own view.
Beck wrote or co-wrote all of the songs here (only one with Gainsbourg), and plays the majority of the instruments along with a handful of guests. Gainsbourg’s main contribution is her voice, which is excellent. “Heaven Can Wait” (a duet with Beck) and “Time Of The Assassins” are the best tracks here. Beck gets what her strengths are, and works with them quite well. In all, IRM is a nice surprise of an album, with good songs, fine vocals and enough good moments to keep you interested. Since IRM, Gainsbourg has released just two albums, the last in 2017. She takes her time musically while continuing her film work, which is okay. IRM is as good an album as she has made so far, worth checking out.
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