B.E.F. - Music of Quality and Distinction, Volume Three: Dark (2013)

UK import

An album of covers featuring guest vocalists, described by Martyn Ware in the liner notes thusly:

Simply put, the original idea was to create dark, electronic versions of previously happy pop songs - of course the concept expanded a little as the tracks were created, but this was the DNA at the heart of the album. Armed with this idea, which the artists immediately embraced, I started working on the backing tracks in 2010.

I haven't heard Volume 2 (yet), but Volume 3 is similar to Volume 1 in that it is a hit-or-miss affair: a few good, a few bad, and a lot of mid.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

1. Every Time I See You I Go Wild featuring Kim Wilde
   written and originally recorded by Stevie Wonder
2. Didn't I Blow Your Mind This Time featuring Green Gartside ✔
   originally recorded by The Delfonics
3. Don't Want to Know featuring Sarah Jane Morris
   originally recorded by John Martyn
4. Picture This featuring Kate Jackson ✔
   originally recorded by Blondie
5. Breathing featuring Andy Bell ✘
   originally recorded by Kate Bush
6. It Was a Very Good Year featuring Glenn Gregory
   made famous by Frank Sinatra
7. I Wanna Be Your Dog featuring Boy George
   originally recorded by The Stooges
8. The Same Love That Made Me Laugh featuring David J Roch
   originally recorded by Bill Withers
9. God Only Knows featuring Shingai Shoniwa ✘
   originally recorded by The Beach Boys
10. Make Up featuring Boy George
    originally recorded by Lou Reed
11. Just Walk in My Shoes featuring Sandie Shaw ✔
    originally recorded by Gladys Knight & The Pips
12. The Look of Love featuring Polly Scattergood ✘
    popularized by Dusty Springfield
13. Party Fears Two featuring Glenn Gregory
    originally recorded by The Associates
14. Smalltown Boy featuring Billie Godfrey
    originally recorded by Bronski Beat

Bonus tracks:

15. The Day Before You Came featuring Maxim
    originally recorded by Abba
16. Co-pilot To Pilot featuring Kelly Barnes ✔
    originally recorded by Teena Marie

Personal Memory Associated with this CD: None, but hearing I Wanna Be Your Dog reminds me of this pinback I occasionally wore when I was in high school:

Oddly enough, adults in my life (parents & teachers) never commented on the pin. When my classmates asked what it meant, they quickly lost interest when I mentioned The Stooges. Such is high school.

Previously revisited for the blog:
Music of Quality and Distinction, Volume One (1982)
Music for Listening To (1981)
Geisha Boys and Temple Girls (1981)

Spyro Gyra - The Rhinebeck Sessions (2013)

The band doesn't provide much background on this release other than the following: "All songs were written and recorded by the band members over a three day period in April 2013." No material was written beforehand - this thing was created on the fly. And while I appreciate that jazz musicians have to feed their need for spontaneous improvisation - it's a decent jam session, for sure - there's something to be said for the editing process. As you might guess, this is a mixed bag that didn't initially grab me in the way most SG releases do. However, my appreciation has grown over time. My complaint is only about the unrefined material - the performances are top-notch, as always.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Contemporary Jazz: #2

Tracks: I dig Serious Delivery, Wishful Thinking, Sorbet, and Odds Get Even. I Know What You Mingus is, once you get past the title's unnecessary wordplay, some of the most straight-ahead material I've ever heard from the band. Skip the last track.

Personal Memory Associated with this CD: None

Previously revisited for the blog:

Vinyl Tap (2019)	Dreams Beyond Control (1993)
A Foreign Affair (2011)	Three Wishes (1992)
Down The Wire (2009)	Fast Forward (1990)
A Night Before Christmas (2008)	Point Of View (1989)
Good To Go-Go (2007)	Rites Of Summer (1988)
Wrapped In A Dream (2006)	Stories Without Words (1987)
The Deep End (2004)	Breakout (1986)
Original Cinema (2003)	Alternating Currents (1985)
The Very Best of Spyro Gyra (2002)	Access All Areas (1984)
In Modern Times (2001)	City Kids (1983)
Got The Magic (1999)	Incognito (1982)
Road Scholars (1998)	Freetime (1981)
20/20 (1997)	Carnaval (1980)
Heart Of The Night (1996)	Catching The Sun (1980)
Love & Other Obsessions (1995)	Morning Dance (1979)
	Spyro Gyra (1978)

Daft Punk - Random Access Memories (2013)

“Let the music in tonight / Just turn on the music.”

In April 2013, I saw a promo video for this album and immediately fell in love with the song Get Lucky and (this rarely happens these days) bought the CD on the May 17 release date. That's how much I was digging Nile Rodgers' disco scratch guitar, Pharrell Williams' vocals, and Nathan East's funky bass lines. My anticipation was ramped up by a 8 episode web series with the album's collaborators:

I bet those studio dates were a musician's dream. Collaboration and innovation with a nod to the past. Sure this album was over-hyped, but I wasn't disappointed in my purchase and this thing remained in my truck's CD player for the entire summer. Faithful readers of this blog know my disdain for Auto-Tune technology, but the groove is so good on these tracks that I'm able to overlook that.

Music from this album won 5 Grammy awards and highlighted the awards ceremony. Metacritic has this scored at 87, which I consider to be just a bit high. Don't get me wrong - it's good, but at 75 minutes, it's a little long. Imagine what a taut 45-50 minute album this could have been (and is in my own iTunes configuration: tracks 1, 6, 11, 3, 8, 9, 12, 10 ).

Update: In its 2020 list of The 500 Greatest Albums of All Time, Rolling Stone ranked Random Access Memories at #295.

Peak on the US Billboard Top 200 chart:  #1 (2 weeks, June 8 - 15, 2013)

Tracks:  The best song on the album (and the best song of summer 2013) is Get Lucky. I also like Give Life Back To Music, Giorgio by Moroder, Lose Yourself to Dance, and Fragments Of Time. I like parts of Touch, but the slower parts make me hit the skip button.

Personal Memory Associated with this CD: see above

David Bowie - The Next Day (2013)

Note: there are several different versions of the album available; the CD I listened to was the "Deluxe Edition" which has 3 bonus tracks. This deluxe edition was superseded 6 months later with the release of a 3 disc collector's edition titled The Next Day Extra (yes, that made me a little bitter).

There's old wave, there's new wave, and there's David Bowie.

In March, 2013, David Bowie released his first album of new material in ten years. And music junkies like me, desperate for quality new rock music, rejoiced. It's not a career defining epic (how many of those can one man possibly have, after all?), but it's good enough and definitely holds it own as a rock album. Pairing again with his longtime producer Tony Visconti, the music sounds like an edgy, updated version of classic '70s Bowie, if that makes any sense. Bowie is never easy to figure out and this album is no exception, but the journey towards understanding is more comfortable than some of his past albums. These songs aren't exactly commercial, especially in today's market, but they're bold, to the point, full of confidence and energy, and nostalgic without being sad. As Visconti puts it:

I think the material on this album is extremely strong and beautiful, and if people are looking for classic Bowie they'll find it on this album, if they're looking for innovative Bowie, new directions, they're going to find that on this album too.

Once again, Bowie writes good songs and brings together innovative, like-minded musicians and lets them do their thing. Metacritic has this album rated at 81, which may be slightly high, but I can't really fault the critics for being so excited over new Bowie that reverence for the man influenced their reviews. It certainly influenced this one. I like it and, since I'm a middle-age male, I think I was supposed to. Best listened to on a cold autumn or winter day while driving around.

On a related note, I absolutely love the cover art. So simple, yet effective. Here's how graphic designer Jonathan Barnbrook describes his work:

Normally using an image from the past means, 'recycle' or 'greatest hits' but here we are referring to the title The Next Day. The Heroes cover obscured by the white square is about the spirit of great pop or rock music which is 'of the moment', forgetting or obliterating the past.

However, we all know... we cannot break free from the past. When you are creative... it seeps out in every new mark you make (particularly in the case of an artist like Bowie)... People will judge you always in relation to your history.

Not surprisingly, Bowie has a flair for the dramatic, and this release - the art design, the music, the secretive recording sessions, the sudden release - is nothing if not dramatic.

Peak on the US Billboard Top 200 chart: #2

Tracks:  My picks include the title track, Love Is Lost, Where Are We Now?, I'd Rather Be High, and How Does The Grass Grow?. Don't skip.

Bonus tracks:  More of the same and that's a good thing. There's even a throwback to instrumental tracks from the Berlin trilogy in the song titled Plan.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Changesbowie (1990)
Let's Dance (1983)

Mobtown Moon (2013)

I not only like this album, I like the whole concept behind it: get a bunch of local musicians from different musical backgrounds, form a non-profit collective, and record a cover album of Dark Side Of The Moon. From the (now defunct) Mobtown Moon website:

More than forty musicians, all from Baltimore. Classic Pink Floyd, thoroughly reimagined on a CD released just in time for the 40th anniversary of the original. This is not your typical “cover” project. Instead, it features fresh new arrangements: surprising grooves, eclectic instruments, gorgeous vocals. Glimmers of rock, jazz, classical, hip-hop, gospel, even opera.

This labor of love results in a unique combination of groundbreaking familiarity. This project was conceived by Sandy Asirvatham (now known as Sandhya) and ellen cherry; their attitude seems to be "if you can play something, come join us!" So we've got everything from banjo to bassoon to spoken word. And they're talented enough to pull it off. Familiarity with the source material is a plus, just so you can know how creative these guys are.

To me, the overall feel of the album is downbeat (think Roger Waters meets Zero 7) - stripped down, laid back, subdued, jazzy. Perfect for late night listening (preferably immediately following the Pink Floyd original). It's worth your time and money to go support the project with a download or CD purchase. Do it so we can get another album like this soon (I'm recommending Abbey Road for the collective's next project. Mobtown Road, anyone?).

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: It's definitely worth a start-to-finish listen, but my favorite "re-imaginings" are Breathe, Time, Any Colour You Like, and Eclipse. My least favorite track on the original album, Money, is given new life here by Cris Jacobs, and is wonderfully followed up by the original Dream/Counterfeit.

Personal Memory Associated with this CD: None, although until now, I had no idea the one of Baltimore's nicknames was "Mobtown."

Painted On Water - Chicago Issue (2013)

This promo CD landed on my doorstep about 2 weeks ago and I've given it a few listens since then. It's a 5 track EP from a Turkish duo that has recently set up headquarters in Chicago. I normally enjoy rock music sung by females, so for the most part, I'm digging this mixed bag. Crunching guitars over synth loops; sounds a lot like Garbage, Blur, or Muse to these ears. Songwriter/instrumentalist/producer Demir Demirkan does a great job with mixing up timbres and has a few good hooks in him. I'm hearing only the very occasional Turkish influence; this is straight ahead electronic rock. For the most part, I like it but I'm left wondering if there's still a large market for this kind of music. According to their website, there's a full length LP on the way next year. [update: the website is now defunct and I can't find any mention of a follow-up]

Peak on the US Billboard Top 200 chart:  Did not chart

Tracks:  Of these five, the better tracks are When I Need You Most and A New Me. I could do without the power ballad Hating You Loving You. The better ballad is the closer, Despite Ourselves.

Personal Memory Associated with this CD: None

Aradia - Possibilities:Light (2013)

Just got this 6 track EP in the mail the other day (evidently EPs are still a thing). It's a new release from a Seattle-based singer songwriter who has coined the term "roktronika" to describe her music. To me, this electropop dance music sounds a lot like a New Wave Robyn and that's a good thing. The production on this release is very sterile, but that doesn't distract me too much because I'm hearing some songwriting that has a strong '80s vibe and you know that I dig that. Aradia mixes it up enough to maintain interest while getting me to do a little chair dancing. She's got other material on her own website that I'll check out. For a Pro Tools loops-based DIY joint, this is better than most, but I look forward to hearing what Aradia will able to accomplish with some big label money and big name production thrown at her material.

Tracks: Of the 6 tracks here, I'm liking Trouble, On Fire, and Keep On. The others are very repetitive and don't really stand up to active listening, but are good enough for the club. The only track I'm wanting to skip is Slow Ur Roll but that's because it uses the dreaded Auto-Tune technology's "Cher Effect".

Personal Memory Associated with this CD: None

Various Artists - CBGB: Original Motion Picture Soundtrack (2013)

I was initially excited about this flick, but since its release last month, I haven't been hearing good things about it (Metacritic: 30, Rotten Tomatoes: 9%). Even so, I'm sure I'll watch it when it's released on Blu Ray in December. None of that has anything to do with this sweet soundtrack, however.

Most of the music is new to me and there are even a few band names that are unfamiliar to me. All of this is because I was a tween dweeb listening to soft rock and disco when this stuff was being released. And, to be honest, most of this music would probably have terrified 11 year old Mark. But 47 year old Mark is enjoying the (somewhat revised) history lesson here.

CBGB owner Hilly Kristal had two rules for his bands: no Top 40 and no covers. So we get unbridled DIY creativity. It's a fun listen. The rather lightweight liner notes get one thing right: they encourage the listener to "PLAY IT LOUD!!!" I do.

I've mentioned it before, but I'm going to recommend the following book again: Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever by Will Hermes

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

I'm still familiarizing myself with many of these songs, so it's tough for me to pick hits and misses, but on today's listen, I'm digging the contributions from Talking Heads, MC5, Velvet Underground, Tuff Darts, The Dictators, The Laughing Dogs, and The Stooges. Even though I always enjoy it, I could do without yet another copy of Roxanne. Notable exclusions: The Ramones and Patti Smith. Licensing issues, I'm guessing.

Personal Memory Associated with this CD: none

Paul McCartney - New (2013)

I'm excited about this release, so I'm going to "live blog" this one on the first playing. Somehow, I've managed to avoid any reviews of this album thus far, so I'm going in with an open mind (well, as open as I can be considering I've been a fan of McCartney's as long as I can remember). Evidently, there's more than one version of the album (which I consider a slap in the face from the record companies. Thanks, Starbucks). I got the 12 track model from my local Hastings yesterday for $10.99. Taking the cellophane off the cardboard gatefold sleeve and sliding the disc into the tray...

Peak on the US Billboard Top 200 chart: it won't chart until next week, but Billboard is predicting a top 5 entry. [update: the album peaked at #3]

Tracks: (keep in mind these are first impressions, admittedly not the best way to write about an album)

1. Save Us: I'm not wild about Paul Epworth's production on this one, but a catchy wordless chorus saves it. Good opening track. ✔
2. Alligator: Classic McCartney songwriting harkening back to his '70s work; this song wouldn't have been out of place on Back To The Egg. Another great chorus and an outstanding bridge. Evidently, the alligator is a metaphor for something? ✔
3. On My Way To Work: The plodding minor key accompaniment, accordion, and booming drums don't do much for me. ✘
4. Queenie Eye: Best song so far. Great chord progressions over a solid back beat and eighth note piano accompaniment. I almost described this one as "Beatlesque" but that should go without saying, right? ✔
5. Early Days: I keep waiting for this folky song to get going, but it never quite does, it just drones along. ✘
6. New: Another winner with characteristic McCartney downward bass lines and falsetto cooing. I'm digging the sax parts, too. There's even a ending custom made for Glee-type a capella covers. ✔
7. Appreciate: I really like the sound of this one. This song is the best example I've heard of someone updating McCartney's sound for modern ears. Let me check out the producer on this one. Giles Martin, George's son. There ya go. ✔
8. Everybody Out There: I was turned off from the opening guitar licks. It's not a particularly bad song, it just pales in comparison to what comes before it. ✘
9. Hosanna: Not a particularly strong song, but I'm digging the ethereal sound of it (if that makes any sense). Still, it's one of the weaker tracks. ✘
10. I Can Bet: Another strong chorus that will be stuck in my ear all week. How does he do it so consistently? Paul's ear for melody continues to amaze. It's great to hear an analog Moog synth again. ✔
11. Looking At Her: The rare McCartney song in which the verse is better than the chorus. We'd better turn this thing around and finish strong. ✘
12. Road: To me, this one has an '80s feel that I dig. Almost like it was produced by Lol Creme or another one of the 10cc guys. ✔
13. Scared: Not really a hidden track (which I abhor), but it's needlessly unlisted. A nice closing ballad with Paul accompanying himself on piano with some beautiful, unexpected chord changes. ✔

Now that I've heard the album, I'll take a peek over at Metacritic and see their rating. 77. I'm good with that.

Previously revisited for the blog:
Chaos And Creation In The Backyard (2005)
Wingspan: Hits and History (2001)
Flaming Pie (1997)
Unplugged: The Official Bootleg (1991)
All The Best! (1987)
Tug of War (1982)
Band On The Run (1973)

Glenn Tilbrook - Happy Trails (2013)

I don't get to hear as much live music as I'd like, but last night I caught Glenn Tilbrook in Houston on his Happy Trails tour. The venue, Dosey Doe's Big Barn, is a relocated and repurposed tobacco barn from Kentucky, but the acoustics were great. Attendance? I'd guess about 200. Sadly, this show wasn't a sell out. Glenn, along with drummer Simon Hanson and multi-instrumentalist Chris McNally played any number of instruments, including guitars, ukeleles, various percussion, synth, and harmonium, plus a Kala U-Bass bass ukelele with polyurethane strings with surprisingly incredible tone. In addition, several iPads were used for sampling and sound effects. Not exactly acoustic, but not full blown, either.

For this tour, Tilbrook is recording every performance and making copies of the show available immediately on CD. They were for sale ($20) at the merchandise table alongside the musicians who were available for autographs (below), photographs, and general meet-and-greet. It's a great idea, is much appreciated, and becoming increasingly common in the industry. The only downside is that there's no overdubbing to clean up the messy bits and there's occasionally some long gaps between tracks. But this is what I heard, warts and all. Overall, a very enjoyable evening - my only (very minor) complaint comes from sitting next to Joe Know-It-All, but he shut up once the music started.

Tracks: My favorites were the old Squeeze tunes, naturally. It was a great show and I enjoyed the solo stuff, but let's be honest, I went to hear the Squeeze stuff. Before going, I told somebody, "As long as he sings a few Squeeze songs, it will be worth the $25 ticket." I got my money's worth. And yeah, I'll probably go buy a couple of Glenn's solo CDs.

The highlight for me was Tempted, followed closely by Take Me I'm Yours and Someone Else's Bell. In addition to the Squeeze material, I also enjoyed Parallel World and the Stevie Wonder cover. I'll be skipping anything not sung by Glenn, though. It's a nice show of support and I'm sure the band appreciates it, but I didn't come to hear the drummer sing.

The first CD opens with 6 songs from the opening act, a solo spot from Joe Michelini, leader of the indie band River City Extension.

The remainder of the first CD is the first set from Glenn:

• Parallel World (from The Incomplete Glenn Tilbrook, 2001)
• Best Of Times (from Pandemonium Ensues, 2009)
• Everybody Sometimes (new song from upcoming release, Happy Ending)
• Dennis (new song in memory of Beach Boy Dennis Wilson)
• Hostage (from The Incomplete Glenn Tilbrook)
• Annie Get Your Gun (from Singles: 45's and Under, 1982)
• You See Me (from The Incomplete Glenn Tilbrook)
• Beachland Ballroom (from Pandemonium Ensues, 2009)
• One For The Road (instrumental from Transatlantic Ping Pong, 2004)
• Still (from Pandemonium Ensues, 2009)
• Pulling Mussels (From The Shell) (from Argybargy, 1980)

Following a brief intermission, the second disc picks up the remainder of the show:

• Someone Else's Bell (from East Side Story, 1981)
• Black Coffee In Bed (from Sweets From A Stranger, 1982)
• Hourglass (from Babylon And On, 1987)
• Hello There (co-written and sung by Chris McNally)
• Persephone (unreleased)
• Ray (unreleased)
• Until You Come Back To Me (Stevie Wonder cover)
• Some Fantastic Place (from Some Fantastic Place, 1993)
• Up The Junction (from Cool For Cats, 1979)
• Kevin And Dave (co-written and sung by Simon Hanson)
• Rupert (unreleased)
• Chat Line Larry (from The Co-Operative, 2011)

Encore:

• Tempted (from East Side Story)
• Take Me I'm Yours (from U.K. Squeeze, 1978)
• Goodbye Girl (from Cool For Cats)

Personal Memory Associated with this CD: I sometimes write that particular CDs are souvenirs of certain concerts I've attended. In this case, that's never been more true.

I admit that I complained about Haircut 100 issuing a live CD with nothing more than a soundboard recording. While this CD may seem similar, it is very different in my mind because I wasn't at the Haircut 100 concert (although I would have loved to have been there).

California Transit Authority - Sacred Ground (2013)

Almost three years ago, I looked at my rack of CDs and thought it would be a fun waste of time to listen to all of them from start to finish. I started this blog simply as a way for me to keep track of what I had listened to and jot down a few music-related memories. I thought maybe a few of my friends might glance at it occasionally, but I never had plans of amassing an online following or making any money with it. I don't think of myself as a music critic and I don't think of these posts as reviews, just notes to myself. So I was shocked last month when I got an email from ex-Chicago drummer Danny Seraphine's public relations firm offering to send me this CD as well as a copy of Seraphine's 2011 autobiography, Street Player: My Chicago Story. There's a first time for everything and I accepted the offer, mainly because the PR hype stated that "Like Chicago, CTA’s music is built on blazing brass, taut funk and searing guitars." How could I pass up a chance at that?

Book reviews are completely outside of this blog's scope, but I'll go off topic this once and write a few words about the autobiography. For the most part, it's typical rock star biography stuff: band forms, works hard, pays its dues, eventually makes it big, sex-drugs-rock-and-roll touring, infighting, band splits, lawsuits. What sets this book apart are the stories of growing up as a member of a Chicago street gang and how those influences affected Seraphine and his business practices throughout his life. After Seraphine was fired by the other members of Chicago, he lived as a hermit for a few years in the Colorado wilderness. The story of that fascinating part of his life merits only a few pages in this book, but I think those years are worthy of a interesting book all their own. In any case, Seraphine came out of that experience all the better for it, which led him back to drumming and the formation of California Transit Authority with guitarist Marc Bonilla.

Now (finally) to the CD. Definitely not a tribute or cover band, Seraphine stays true to his Chicago roots without being too derivative. Chicago was always a collaborative effort and that remains true here with contributions from a number of talented songwriters and performers including Peter Fish and Larry Braggs. Bonilla plays a helluva guitar and works well playing and writing with Seraphine. The horn arrangements sound more like Tower Of Power than old Chicago, but that's a minor quibble. My biggest beef with the recording is the mix: there's some clipping and no subtlety in the balance so all parts are pretty much in your face all the time. But if you're like me and gave up on Chicago in 1986 after the lackluster Chicago 18 album, you would find this CTA album to be a welcome return to 1970's form - there's even some interesting throwback instrumental pieces on the album; all that's missing is a Hohner Clavinet. There's some great vocalists here, but would it be too much to ask for a Peter Cetera guest vocal somewhere on the follow-up?

On a side note, it's a shame there really isn't much of a market for good music like this, thanks mainly to the nearsightedness of the music industry. Singer-songwriter Mike Doughty of the band Soul Coughing wrote a nice piece about those frustrations (and some possible solutions) here.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:  Three tracks in, we're treated to a smokin' cover of Al Kooper's soul waltz, I Love You More Than You'll Ever Know, where the band really cooks. But this is one of those rare CDs that actually gets better as it goes on. As a result, most of my favorite songs are in the second half, including the half-time shuffle Strike, Full Circle (with vocals from Bill Champlin, another Chicago veteran), Staring At The Sun, and a high energy cover of Take Me Back To Chicago which is now a more interesting piece to me after reading about the song's origins in the Street Player autobiography. The weaker cuts are The Real World, Out Of Reason, and Daydream Lover.

Personal Memory Associated with this CD:  None, although I'm going to assume that I saw Danny Seraphine perform with Chicago when I saw the band in Ft. Worth back in 1985. Seraphine autographed and personally inscribed both the CD and book to me. Classy move, Danny. Simple efforts like that go a long way with people like me.