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Prepare for the deluge, people. You’re about to be Feist’d to death. It’s been coming since John Legend sang her praises in Rolling Stone…since her last release, Let It Die served as her coming out (from the Broken Social Scene) party…since she helped that uber-collective make kick-ass records…since, well, you get the idea.
The story of The Reminder’s recording in a French castle has already made its way (a few times) around the Internet. The tall tales of its recording might make one expect a big, adventurous album, but non. It’s not like that…not at this point for fair Leslie.
The album is good, but not quite at the level where it’s all good, all the time. The Reminder is not one of those rare gems…which keeps it from 10/10 status. Instead, it goes on a three-song run which I skip to every time I put this disc in:
- “1234â€: A toe-tapper, hand clapper and finger-snapper. Damn near a nursery rhyme accompanied by the comfort of banjo and, is that horns…and piano? Yes. Rolling Stone calls this the standout track. I’m hard pressed to disagree. Forget, for a sec, what I said about The Reminder’s lack of adventure. They throw everything and the kitchen sink in on this track. The video takes that torch and carries the hell out of it.
- “Brandy Alexanderâ€: Slows it back down with an ode to a partner-in-crime wrapped in a mixed-drink metaphor. (NOTE TO SELF: this is to be included with Steely Dan’s “Black Cow†in a song-named-after-drinks podcast…when you get around to actually podcasting, slack-jaw)
- “Intuitionâ€: Is another staple of her live act. It falls back on her familiar acoustic + voice formula. I hear it’s just a live recording, in fact. It’s on this song where she’s at her most enchanting, at least for my money. Simple but weighty lyrics imparted by that imperfect-and-that’s-a-good-thing voice and a surprise at the end: a choral refrain to take her out, repeating “Did I? Did I (miss out on you)?â€
Other things to know about the female vocalist of the moment: another highlight from the album is the throbbing “My Moon My Man” which is to be the first single; there is a tremendous fansite where you could go to binge on all things Feist; and she plays a damn fine live show which I first saw, thanks to my boy, Bobby. Get you some. It most assuredly does not suck.
label: Cherry Tree / Interscope
rating: 9/10
release date: April 23 (Europe); May 1 (US, Canada)
“Sounding dated” is an unquantifiable but very real phenomenon, something that can cause a person’s reaction to a song to go from pure joy to guilty remembrance to severe annoyance in a relatively short period of time. It’s hard to explain what goes into making something sound dated — whether it’s the arrangements, the vocal style, the instruments used, or something else altogether — but, just like pornography, everyone knows what it is, even if they can’t define it.
And does Homebase, DJ Jazzy Jeff & The Fresh Prince’s third album, sound dated? Why yes. Yes it does. It sounds more dated than plenty of other albums released in 1991, including, but not limited to, Leisure, Loveless, Nevermind, and The Mormon Tabernacle Choir Sings Hymns of Faith. It also sounds more dated than plenty of music that comes before it chronologically, a partial list of which might include Like a Prayer, Brotherhood, Dark Side of the Moon, Rubber Soul, Elvis Presley’s Sun Sessions, the complete studio recordings of Leadbelly, Beethoven’s ninth symphony, and the O Ierusalem sequence of Hildegard von Bingen, which the public first encountered a mere nine hundred and forty years before Homebase hit the streets. (If you think I’m exaggerating, take a look at that cover, which features the duo wearing a combination of colors rarely seen outside of chemical-induced hallucinations.)
And yet, despite the Casio-preset drums, the early-’90s house piano lines, and Will Smith’s delivery — which manages to be both surprisingly dexterous and utterly cornball at the same time — it’s still quite a likable album. Not a great one, and certainly not a perfectly consistent one — “Ring My Bell,” for one, is too over-the-top for anything but point-and-laugh amusement — but one that in this day and age has a charm that’s almost quaint. Nobody sounds like this anymore, not even Smith, but it’s easy to hear the bubblegum hooks and relentlessly danceable rhythms that made this popular at the time, even if the time’s long gone by.
Rap is a genre that for whatever reason doesn’t tend to engender quite the sense of history as rock — a quick comparison of the current record sales for, say, Bob Dylan and Afrika Bambaata will bear this out. (If it did, I think “Summertime” might be considered a minor classic.) At any rate, there’s no way you can play this in public — and maybe not in private either — without a series of half-ironic smiles appearing. But I bet you’d probably see people starting to dance too.
Release date: July 23, 1991
Label: Jive
Rating: 6/10
this seems to be a hot topic going ’round these here intarwebz. so i guess it shouldn’t come as a surprise that the national just announced some gigs opening for a few of the already released arcade fire tour dates. not the arcade fire show that i have tickets to, of course, but some of ‘em. the lucky shows are as follows:
05-01 Atlanta, GA - Atlanta Civic Centre Theatre
05-02 Asheville, NC - Thomas Wolfe Auditorium
05-04 Washington, DC - DAR Constitution Hall
05-05 Upper Darby, PA - Tower Theatre
05-07 New York, NY - United Palace
05-08 New York, NY - United Palace
05-09 New York, NY - Radio City Music Hall (High Line Festival)
Okay folks…
Normally I’m a big meanie, but today the sun is shining and…well…fuckit…I saw a couple of things on the ol’ YouTube I just wanted to show and tell.
One of them was a Government Issue song being used in James Bond trailer. However, as you can imagine, copyright lawyers jumped all over that shit. So oh well….
Anyways, there’s this item: Terry Reid, the man who could’ve been Plant, tearing through Waterloo Sunset.Â
I won’t say it doesn’t get any better, because maybe it does and maybe it will, but not that often, and sure as shit not by anybody in the current Lollapalooza lineup.Â
the official lollapalooza line-up for the static festival in chicago is out. some of the bajillion bands playing for a whole 25 minutes include:
Pearl Jam
Daft Punk
Ben Harper & the Innocent Criminals
Muse
Iggy & the Stooges
Modest Mouse
Interpol
the Polyphonic Spree
Peter Bjorn & John
Silversun Pickups
My Morning Jacket
Yeah Yeah Yeahs
Snow Patrol
Kings of Leon
the Black Keys
Regina Spektor
Spoon
TV on the Radio
Amy Winehouse
Clap Your Hands Say Yeah
Silverchair
Yo La Tengo
the Hold Steady
Sparklehorse
Sean Lennon
Son Volt
Tapes n Tapes
    Beazley Phillips, originally from the dirty south (how do we define the dirty sou
th as opposed to just the south? Does it correspond to number of Waffle Houses and Chik Fil-A’s?), transcended himself as an artist when he moved to Chicago to follow his first love, the blues. Since his move Beazley has refined his style and writing and what resulted is a debut album entitled Shooting Ghosts, featuring Beazley on the keys and as lead vocalist. Shooting Ghosts was released in 2005 under the Zendogs, Inc label, and slowly yet surely, Beazley Phillips Band has been picking up steam on the touring front. They garnered enough of a following to produce a second album which they are diligently pounding out as you read on.Â
Beazley Phillips Band has but 3 members, breaking the conventional, archaic 4 man band set up that many up and coming artists are daring to break these days.  For a long time it seemed as though breaking from this mold was against the rules of band formation, and kind of like Tae Bo…no matter the inherent positives, you just didn’t do it. Beazley captures your attention with his shifty yet smooth piano rifts and with his voice, which bears a striking resemblance to a young Elton John. To my knowledge Beazley has not started wearing flamboyantly obnoxious outfits that make you feel uncomfortable to witness from afar, let alone upclose. We’ll hold our breath.Â
“Freedom,†the first song on Shooting Ghosts, is hands down the crowd pleaser of the album. At any point when playing this song, I feel that Beazley is capable of standing up and, kicking back the stool at the piano like Jerry Lee Lewis, performing “Great Balls of Fire,†whether or not he is performing live or playing in the studio.  I don’t see how you couldn’t listen without thoroughly enjoying the rest of Shooting Ghosts, especially after getting your first real taste of “Freedom,†compliments of these highly passionate trio of musicians.Â
Check out Beazley Phillips Band’s Myspace Page and Website to experience their talent for yourself. (EG = Eric Hill, Pete = Pete Nocito)
1. When historians listen to your most recent CD 1000 years from now, what will
they say?
Pete: I think historians will wonder why there were no B#’s, they will honor us for originality, but condemn us for our lack of sharp beez!
EG: rolls his eyes.
Beaz: Historians will just look at each other and ask, “Didn’t they have therapy back then?”
2. If you could play a show w/ any band/musician living or dead, whom would you
pick and why?
Beaz: Phish, Dream Theater, The Grateful Dead with Jerry Garcia and Bruce Hornsby! Fleetwood Mac as a songwriter, right before Rumors was released!
 Pete: Why not cut out the middle man? How about playing a gig on the bones of long dead musicians, kind of like that scene in the Goonies with the pirate skulls.
Â
3. What is the strangest band-related dream you have had?
Pete:Â I think the stragnest band related dream I’ve had was having to miss work the following day because I left my pants at the gig the night before.
 Beaz: I dreamed I was on a cruise ship with the band and after an days of being wined and dined, the crowd all waited for the BIG NIGHT and when the MC introduced us, we realized they all thought we were the Dazz Band…weird huh?
4. What do your fans look like?
We have a pretty good looking bunch; most of them have jobs and some are pretty hot and a lot of them are single, maybe we should play Match.com now that I’m thinking about it.
5. What bullshit do you run into at most every show that makes you think, “Man,
this Bullshit again?”
Pete: We’re pretty prepared, so we cover our bases. The most annoying thing is when we’re playing a show and everyone’s too busy drinking to watch the show, that’s when I take my shirt off and everyone see’s the American flag painted on my belly, now there’s an attention grabber.
 Beaz: The load out totally blows. My keyboards in their cases are majorly heavy! I’m always thinking I should have played a lighter instrument like the guitar or recorder or something.
Â
Bonus Question: Why won’t you forget to tip your bartender?
 Beaz: Cuz I was one for years!
 Pete: Because they might eat the yellow snow if you don’t.
 EG: Dude, that doesn’t even make sense.
 Pete: So?
