Throwback Review: Dusty Springfield - Dusty in Memphis

I'd like to introduce into the blog the first post of what I hope will be a continuing series entitled "Throwback Reviews".  The series will take albums that are reviewed here might be personal favorites of ours.  They might be getting very heavy play in our headphones.  Or, perhaps most importantly, they might just be albums we really feel like writing about.  And without further ado, I give to you an album that I definitely feel like reviewing, and, my first entry.

My introduction to Dusty Springfield actually spawned from a recording that first appeared on this album.  Quentin Tarantino used the tune "Son of a Preacher Man" in his 1994 fan-favorite Pulp Fiction.  I'd be lying if I didn't tell you that literally every track on the Pulp Fiction soundtrack didn't hold a special place in my heart.  Neil Diamond's "Girl, You'll Be a Woman Soon", Kool & The Gang's "Jungle Boogie" and Chuck Berry's "You Never Can Tell" each evoke strong feelings of cinematic pleasure within me, and I have forever championed Tarantino's powerful soundtrack selection abilities.  However, "Son of a Preacher Man" instantly stood out to me as a song worth buying the soundtrack for.  And, it has since remained a personal favorite.

Dusty in Memphis, the 1969 recording that marked the first appearance of "Son of a Preacher Man" is a perfect introduction to not only Dusty Springfield, but also the "blue-eyed soul" genre.  For me, blue-eyed soul was not again this interesting for almost 40 years, with the release of Duffy's Rockferry.  Of course, there would be no Rockferry without Dusty Springfield, and, as such, this is where any curious listener should begin.

Springfield left England to record with the Memphis Cats, a band that had previously backed, among others, Elvis Presley and Wilson Pickett. The trans-Atlantic departure proved to be absolutely revolutionary for Dusty's sound, introducing previously unrealized levels of soul and blues musicianship to the album.  The backup singers utilized on this album, the Sweet Inspirations added a key inflection to the Memphis Cats, assisting Dusty in creating some of the smoothest songs in history.  Plus, with a fleet of A-list songwriters that included Randy Newman and Carole King, the blue-eyed songstress seemed to have surrounded herself with a team that was capable of delivering the components of a classic. 

The album opens with "Just a Little Lovin".  With its warm, rising and falling orchestral instrumentation, the accompaniment on this tune is a perfect compliment to Dusty's voice.  And what a voice it is! I hate to fall back on the word "warm" again to describe another aspect of the song, but it's also easily the best descriptor of Ms. Springfield's vocals and the lyrics.  The words in this song are just genuinely peachy. And Dusty's delivery is, after even hundreds of listens, consistently smile-worthy. 

Another standout is "Just One Smile".  The song starts out as a slow ballad with acoustic guitar accompaniment.  The guitar sound is, to me, reminiscent of what would have appeared on similar ballads sang by the German singer Nico on her Chelsea Girl album.  This song exemplifies Dusty Springfield's vocal abilities.  "Just One Smile" evidences both her dexterity as a singer, and her powerful, powerful emotive abilities.  Dusty leaps from mournful to celebratory over the course of this one song, something that most vocalists can't achieve over the course of an entire album.

Dusty in Memphis is an absolute diamond.  Period.  It is a landmark in soul music, and an album that catapulted Dusty Springfield into the Pantheon of great singers.  As a side-note, it is interesting to note that the album's highest charting single, the aforementioned "Son of a Preacher Man" was originally written for the Queen of Soul herself, Aretha Franklin.  It wasn't until she heard Dusty's rendition that she was tempted to sing the song, but by that point, "Son of a Preacher Man" had already reached #10 in the US, relegating Franklin's version to a measly B-Side on her album The Girl's In Love With You.

Dan's Top 20 Albums of 2010

If you disagree...you're actually probably right

20. New Pornographers - Together

19. Surfer Blood - Astro Coast

18. Vampire Weekend - Contra

17. Edward Sharpe & The Magnetic Zeros - Up From Below

16. The Radio Dept. - Clinging to a Scheme

15. Broken Bells - Broken Bells

14. Yeasayer - Odd Blood

13. Wavves - King of the Beach

12. Titus Andronicus - The Monitor

11. Toro Y Moi - Causers of This

10. The Drums - The Drums

9. The Tallest Man on Earth - The Wild Hunt

8. Gorillaz - Plastic Beach

7. Magic Kids - Memphis

6. No Age - Everything In Between

5. Arcade Fire - The Suburbs

4. Twin Shadow - Forget

3. LCD Soundsystem - This is Happening

2. Best Coast - Crazy For You

1. Beach House - Teen Dream

Jeff Mangum Returning?

Jeff Mangum, shown above at the 2008 Holiday Surprise Tour, could be making more of a prominent comeback to the music scene in '11

According to an article on Pitchfork.com, Neutral Milk Hotel's Jeff Mangum is planning a tour in the U.S. and Europe. Mangum, who essentially went into hiding after his 1998 album, In the Aeroplane Over the Sea, garnered a little more recognition that the Neutral Milk Hotel frontman envisioned, has played a few shows over the past few years, but never fully went on tour. This is sure to create tons of buzz across indie circles, seeing as Mangum is highly regarded as somewhat of a god. We'll be sure to keep updates on a possible fall 2011 tour for the legend himself.

Album Review: Harlem - Hippies

       I was truly considering a review of Deerhoof's "Deerhoof vs. Evil" today, but upon a visit to theneedledrop.com, I decided not too.  I found nothing outwardly discouraging on the website, if anything, what I found was quite the opposite.  For those of you that are unfamiliar with The Needle Drop, it is a website run by the great Anthony Fantano, where he reviews rock, pop, electronic and metal music of the independent persuasion.  In short, Anthony Fantano is the man! 
       Anyway, it was on this website that I find Mr. Fantano's review of the new Deerhoof album.  Anthony did such a thorough review of the album, that I've decided, in lieu of posting my own review, give you all a link to his, just in case you haven't yet seen it. 

Click Here for theneedledrop's Review of "Deerhoof vs. Evil"

On top of that, I've decided to review the new Harlem album, "Hippies".

                                                    ^That's Harlem^

       Now, in case you're not familiar with Harlem, they are a three piece garage rock band comprised of two guitarist/vocalist/drummer triple threats in Michael Coomers and Curtis O'Mara, and their equally formidable bassist, Jose Boyer.  Harlem is signed to Matador Records, and guess where they hail from? Tuscon, Arizona...

So... ALBUM TIME!

       "Hippies" is, at its core, an relatively well-executed garage rock album.  Harlem seems to have created a careful synthesis of the "garage rock" idea.  The sound created on this album is equal parts energy, nostalgia and lo-fi aesthetic. Harlem takes these three simple concepts, and adds in some incredibly catchy hooks, and a few wonderfully funky bass lines.  A standout, to me, is the album's third track, "Spray Paint".  "Spray Paint" sounds like it could definitely fare well as the B-Side to the Dead Kennedys' "Police Truck" (I do, of course, understand that "Police Truck" was, in turn, the B-Side to "Holiday in Cambodia", but I digress), what with its steady, grooving bass and aggressive nature.  The aggressiveness heard on this track is an early break in an album otherwise completely filled with summery, sunshiny pop rock.  "Faces", another favorite of mine, comes across as an insanely catchy Apples in Stereo-like tune.  My major gripe with this album is that, about midway through, the songs begin to blend together.  Don't get me wrong, while I was still engaged in listening to the album, the songs were all very likable. However, as soon as I took off the ol' headphones, I realized that, although I had enjoyed them all, not too many of these songs were incredibly memorable.  It seems as though Harlem created a batch of very immediate, very "ready-to-go" pop songs, but, unfortunately, save a few key favorites of mine, I found a lot of the songs on this album to be rather indistinguishable from the next. 

Bill's Top 20 Albums of 2010

if you disagree... tell me why!

20. Nas and Damian Marley - Distant Relatives

19. Mono/Poly - Paramatma

18. Girl Talk - All Day

17. Flying Lotus - Cosmogramma

16. Reading Rainbow - Prism Eyes

15. Titus Andronicus - The Monitor

14. Belle & Sebastian - Belle & Sebastian Write About Love

13. Miami Horror - Illumination

12. Matthew Dear - Black City

11. Glasser - Ring

10. Sleigh Bells - Treats

9. Beach House - Teen Dream

8. Kanye West - My Beautiful Dark Twisted Fantasy

7. Four Tet - There is Love in You

6. Surfer Blood - Astro Coast

5. Best Coast - Crazy for You

4. Vampire Weekend - Contra

3. LCD Soundsystem - This Is Happening

2. Arcade Fire - The Suburbs

1. Gorillaz - Plastic Beach

Ariel Pink's Haunted Graffiti TV Debut

Last night, Ariel Pink and Co. made their national television debut when they performed their song "Round and Round" on Late Night with Jimmy Fallon. "Round and Round" is the fifth track on their latest LP, Before Today.

Here's the performance in all of its freakfolk, crossdressing glory. Enjoy:

Peter Bjorn & John Release New Track

Swedish indie pop trio Peter Bjorn & John gave fans a little "teaser track" for their forthcoming album entitled Gimme Some. The track is called, "Breaker Breaker" Although, only a minute, 38 seconds long, the track offers a little bit as to what the rest of the album may sound like: A bit more up tempo than what we've heard before. Hit up PB&J's website here for a free download of the new release. The album is due out March 29.

Album Review: The Decemberists - The King is Dead

Today marks the release of The Decemberists' newest LP, The King is Dead.  The title is a reference to passing of Michael Jackson, and, as such, the album more or less reflects its name.  This album is indeed the most pop-oriented Decemberists outing yet.  Colin Meloy and Co. abandon the sprawling, multi-part epics of their last effort, 2009's The Hazards of Love.  In place of Hazard's operatic tendencies, with their new album, The Decemberists adapt a more approachable, upbeat, "radio-friendly" sound.  Meloy has noted that the album is heavily noted by R.E.M, which is most clear in the album's first single, "Down By the Water."

Track By Track:

1. "Don't Carry It All" - Take standard Colin Meloy vocals, punctuated with a heavy, pulsing drumbeat, and lay on some Neil Young-style harmonica solos, and voila, you have the album's opener.  The end of the song is highlighted by the use of mandolin, which adds a shimmery, shiny layer to an already solid track.

2. "Calamity Song" - This one starts off with a strange, echo-y six word phrase, "You and me in the war" being shouted sans musical accompaniment. Then, we're introduced to the ever-present acoustic guitar that stands out as this song's signature.  As it stands, the guitar part could easily fit in with the bluegrass/country of T Bone Burnett's O Brother Where art Thou? soundtrack.  Lyrically, we revisit one of the band's favorite topics to sing about; wartime!  In the chorus, the listener is again reminded of the R.E.M's heavy influence on the album, with some Peter Buck-sounding jangly guitar glory shining through.  The stand-out aspect of this song however, to me, is it's showcase of Meloy's vocal abilities, as we get a glimpse of some wonderful range with a few Black Francis "Ahhh-woooo"s, sounding incredibly similar to the Pixies' "Caribou".

EDIT: Ironically, it actually IS Peter Buck playing on this track... Oops!

3. "Rise to Me" - Chris Funk's slide guitar is the backbone of this song, and it really ought to be.  The Decemberists have never truly showcased Funk's roots-y virtuosity, so this is long overdue.  Overall, this track is a mournful, camp-fire tune with more harmonica.  At five minutes, the song may seem a bit on the longer side, and rightfully so.  I found myself sitting through a harmonica solo or two really wishing the song would just skip ahead to whenever Colin would start singing again.  It is by no means a bad song, it's just a little... roundabout.

4. "Rox in the Box" - This is my favorite track of the album.  I have absolutely no idea what "Rox in the Box" refers to, but I really don't care.  We all know damn well that The Decemberists can rock a sea shanty like nobody's business, but "Rox in the Box" is the first time I've heard a strong Celtic influence in one of their songs.  And, perhaps unsurprisingly, it works.  It works really well.  When I heard the song's opening riff, I half expected Flogging Molly's Dave King to grace my ears with a drunken lullaby.  Instead, Colin Meloy and Jenny Conlee sing a haunting miner's tale.  I've always seen Conlee's vocals as terribly underutilized, so this track is a real treat.  Lyrically, the song's chorus reminds me of the creepy nursery rhyme from A Nightmare on Elm Street, which is probably a stretch, but I love my connection nonetheless.

5. "January Hymn" - As I sit here typing this, I'm actually missing my first two classes of the day, all because I've been snowed in.  Now, it might be due to this fact that I find this track so endearing.  It is the perfect post-holiday winter theme, perfectly paralleling the sluggish, dreamlike feel of a later-life snow day (it's a snow day for grownups... you're not excited for being off from school, you're just bored).  Another one of the reasons I love this song is because it is one of few that, to me, captures the feeling of being inside on a winter day.  There is a warmth to Meloy's vocals on this tune that really reminds me of thawing next to a fireplace.

6. "Down by the Water" - For this one, the band enlists Tennessee singer-songwriter Gillian Welch. The sharp contrast between "Down by the Water" and the previous track, "January Hymn" actually kind of startled me.  The drums that open the song slapped me back from the dreamy warmth of the preceding tune.  This, for all intents and purposes, isn't a Decemberists song.  Sure, The Decemberists wrote and recorded it, but it could just as easily be a sonic sequel to "Shiny Happy People." The vocal interplay between Meloy and Welch really reminds me of that of Michael Stipe and Kate Pierson.  Of course, this being a Decemberists track, it has a much more Americana feel to it than Stipe and Pierson's song.

7. "All Arise!" - Warning: If you are a fan of anything The Decemberists have ever done, there's a very, very good chance you won't like this tune.  Why?  One word: Fiddle.  Bleh... I personally think this track has a certain cinematic quality to it, in that it could easily be laid on top of some sort of cheesy montage.  Whether that is a redeeming quality or not, I will leave open to you.

8.  "June Hymn" - Is this a Gregorian calendar psuedo-prequel to Castaway and Cutouts's "July, July"?  Not really.  This song is actually more of an appropriate complementary piece to this album's fifth track, the similarly titled "January Hymn".  It is a celebration of a fresh summer that I find rather reminiscent of the Beatles song "I Just Saw a Face".  Although "June Hymn" is a little more downbeat, it follows a similar chord progression.

9.  "This Is Why We Fight" - This song is big.  It's abrasive.  The rolling drums constantly slug you right in the stomach, and you're going to like it.  As seems to be en vogue right now (what with the massive success of Arcade Fire's The Suburbs) this track recalls heyday Bruce Springsteen.  And it's a welcome addition to the Decemberists catalog.  Toss in some arena-sized vocals, and you have what is very possibly the first singalong Decembirsts song.  What I love most about this album is its showcase of ideas previously unheard on the band's other albums.  "This Is Why We Fight" is a perfect example of a style The Decemberists haven't yet adopted, but I am certainly glad they decided to here.

10.  "Dear Avery" - "Dear Avery" is a reminder that The Decemberists can sound really spooky sometimes.  It starts off sounding like an outtake from Hazards of Love, possibly an ode to one of the protagonist's drowned children. But then, the song shifts a bit, and conveys a sense of longing for the titular Avery.  It is my interpretation that Avery is a son who has grown up and left home.  Under that lens, this song is easily the sweetest on the album.  Plus, we get some very angelic backing vocals and more of Chris Funk's slide guitar.

ToTD: Vivian Girls - Before I Start to Cry

Today is January 17th, and the track of the day is the Vivian Girls' "Before I Start to Cry."  The song was released in 2009 as the closing song of their album Everything Goes Wrong.  It is a severe change of pace from the rest of the record, which is filled with roller derby, Ramones-esque punk pop.  On the other hand, "Before I Start to Cry" is a guitar-driven, bittersweet breakup ballad.  The girls turn down the volume a notch (albeit just barely) and Cassie Ramone (their appropriately named lead vocalist) sings of her sorrows in a manner reminiscent of Kim Deal.  This song definitely would have fit comfortably into any Breeders disc, as its not just the vocals that recall Deal, but the jangly guitars and rolling drumbeat as well.

Vivian Girls - Before I Start to Cry

Track of The Day: Glasser - Apply

Today's track of the day is the song "Apply" from Glasser's September 2010 debut, Ring.  Glasser, the nom de musique of LA's Cameron Meisrow, is best described as dream pop electronica.  Meisrow is the daughter of one of the titular blue men in the Blue Man Group, and created Glasser as an amalgamation of all of her musical influences, including the classical and new wave music with which she grew up.  "Apply" is perhaps a perfect exemplification of her unique style, as the percussive single is most certainly a synthesis of a wide range of several music genres.

Glasser - Apply

Track of the Day: The Radio Dept. - Heaven's on Fire

Off of their 2010 album Clinging to a Scheme, comes the first illin' noise, Track of the Day (TotD). The song opens with a quote from indie rock legend Thurston Moore, best known for his work with Sonic Youth. The quote reads: "People see rock and roll as, as youth culture, and when youth culture becomes monopolized by big business, what are the youth to do? Do you, do you have any idea? I think we should destroy the bogus capitalist process that is destroying youth culture." Not only is this track worth a listen, but the whole album is as well.

Diving into Surf Rock

In 1966, when Pets Sounds was released it encouraged listeners to strip down into their bathing suits and hit the swells.

But fear not. Sadly, the 60's are long passed, but that doesn't mean that surf rock went with it. Now it's 2011 and there are plenty of bands out there that are still giving us this same feeling. Let's take a look at some new bands that evoke not only this "surfing" aura, but also the overall feeling of happiness. Often times, this music packs that psychedelic sound. And whether or not you're into that sort of thing (I'm talking about drugs) you can still come away with that feeling of ecstasy and enjoyment. These bands may not always supply the densest lyrics, but nonetheless, make us feel careless and stress free. Here's a look at some of these bands:

- Magic Kids - In 2010, these Memphis Beach Boys clones came out with their first LP, known as none other than Memphis. Frontman Bennett Foster sounds like Brian Wilson as he sings through his catchy pop tunes. I recommend checking them out if you've listened to everything Brian Wilson and The Beach Boys put out and are still pining for more. If you're looking for a place to start try watching this funny, yet also creepy YouTube video of them performing "Cry With Me Baby" http://www.youtube.com/watch?v=Cmo_stbnI80 Recommended Tracks: Hey Boy, Summer.

- The Drums - The Brooklyn-based indie rockers came out with their EP, Summertime! in March, which attracted some attention, leading to their release of their first self-titled LP. Jonathan Pierce put together an interesting set of vocals, that could be described at times as "whiny," but still sound good. One look at The Drums and you revert back to those 80's "emo" bands like Joy Division or The Smiths. You can definitely hear that sound as you listen. Recom

mended Tracks: Let's Go Surfing, The Future.

-Wavves - While some might be turned off by Wavves (yes, I'm sure they realized their misspelling) because of how hard they sound, these Cali boys are worth a listen. They are definitely more "noisy" than the previously mentioned bands. Wavves has been around the punk, lo-fi scene since '08 with their albums Wavves (2008) and the creatively named 2009 LP Wavvves. However, King of the Beach their 2010 release seems to hit the nail on the head. Check it out. Recommended Tracks: King of the Beach, Post Acid.

-Best Coast - Bethany Cosentino's lyrics are so simple, yet just so damn catchy. In 2009 she formed the band with her former baby sitter, Bobb Bruno. She says she's only been to the beach a few times, but man, she nails the beachy, surf rock sound. Their first album, 2010's Crazy for You, is comprised of simple rhymes and simple little limericks, but coupled with the guitar make for one pop sensation of an album. Bethany rants about the boys she loves and the listener gets the feeling that he/she is paging through Bethany's own diary. But make no mistake, density aside, Crazy for You is one good album and one of the best of 2010. Recommended Tracks: Boyfriend, Crazy for You, When I'm With You.

So there you have it. The world of surf rock. Although they're not a new band, my personal favorite band OAT (of all time) Beulah has this sound down to perfection. Check out their 1999 release, When Your Heartstrings Break if you're interested. 2010 brought some great additions to the surf rock scene and let's hope for more of the same in 2011.

-DB