(IN NO PARTICULAR ORDER)

 

NICK CAVE AND THE BAD SEEDS – Your Funeral, My Trial

You can’t really compare Nick Cave’s songs to any other.  His burned out bottom end vocal chords are unique to only him, but it’s definitely not his voice that he’s applauded for – it’s his writing.  I first heard Nick Cave in the Wim Wenders movie “Wings of Desire,” and have not been able to get enough since.  Sometimes chaotic and often non-linear in approach, he constantly works more like an artist and less like a musician.   This CD, his triumph, is perhaps one of the scariest recordings ever put to tape.  Recorded in 1986 it still frightens listeners today, many not even sure exactly why.  The mood is simply eerie and dark, but not like an 80s heavy metal band or anything that might be marketed to shock people like Tipper Gore into standing up against the “evils of rock music.”  It’s more like walking into an exorcism and then realizing that the priest is the one possessed.  Nick Cave exorcises himself on this recording; track after track he is the ghost that haunts himself.  I hope he got whatever he needed to get out of his system, because it’s the most terrifying thing I think I’ve ever heard.  Some people need their art because it becomes a doctor’s tool with which they can operate on themselves, and thereby extract the proper therapy they need.  Nick Cave is the proof that not all of these people are trite and condensed schemes cooked up by A&R reps. He is art – a walking, breathing, living mosaic put to flesh.

 

DA – Darn Floor Big Bite

Incredible lyrics meshing with an incredible concept.  Originally recorded around 1987, it remains a fresh listen 15 years later.  Tim Chandler proves that he is the world’s most original melodic bass player.  And who can forget the genius of Terry Taylor?  His mysterious, mystical and musical words flow from the profound to the absurd.  He is CCM’s greatest poet.  In this concept album, Terry’s metaphor is about how we talk to God compared with certain apes  in captivity that have been taught sign language.  “Darn Floor Big Bite” was the sign language symbols one ape used to describe an earthquake he’d experienced.  Terry compares this to how we humans try to describe God, and the best we come up with is language like  “a roaring lion and a consuming fire.”   The metaphor shows us that perhaps Plato’s Cave Theory was right regardless of whether the Bible is 100% infallible or not.  Fifteen years before post modern thinking really took grip, Taylor was grappling with dual realities, plurality and positive learning from relative thinking.  Musically the band is like no other in their approach and attitude.  Every song has a sound unique only to this recording, all of it drawn from new wave 80s music but funneled into something much more sophisticated.   Taylor’s prose is what stands out the most.  This is one of those out of print CDs that cost around $100 these days… Fortunately for me, Canada's greatest movie critic Peter Chattaway sent me a copy recently!  What a guy.  And to think, I would have sold the whole field to save the gem...

 

SIXTEEN HORSEPOWER – Low Estate

You’ve not heard banjos, accordions and vocals like this before.  David Eugene Edwards is as wild as his southern roots, and tunes like “For Heaven’s Sake” and “Ditch Digger” show it off quite well.  David moans and wails thru each dirge like it’s a Mississippi funeral, yet the Hope of Glory is always masked somewhere in his frenzied lyrics.  He is a rock star for the spiritually disenchanted, a faithful servant to the solemn saints.  My copy is autographed from meeting him at Schubas’s in Chicago, and no – you may not borrow it.  You wouldn’t bring this one back.

 

ADAM AGAIN – Ten Songs

It is a shame that I lost this disc years ago – if anyone knows where I can pick up a copy please let me know.  It contains some of the most unique melodies and vocal harmonies, peculiar beats and funk/rock guitar blend ever to come out of my stereo.   The final song about remembering the death of Christ is hauntingly beautiful, as is the best version I’ve ever heard of “Ain’t No Sunshine.”  Many Adam Again fans have written off this entire CD because it was recorded entirely with a drum machine, as opposed to their later groove oriented material that a machine could never pull off.  But if you listen to all of the diversity in this 52-minute project you will hear the brilliance of Gene Eugene emerging.  You might also understand some of the things that he feared in himself, like for instance, “The Trouble with lies.”  This CD was written years before DIG.  “When you tell ‘em, you’ve still got to sell ‘em with a look in your eyes.”  A quick glance into Gene’s lyrics over the years, show a very real person, an artist unafraid to unmask himself and his problems in his work.  When you combine that with a great band, the results are astounding.

 

MIKE ROE – Safe As Milk – the 12 song version

The 12-song disc was the so-called “secular” version of the CCM-sold 9 track disc.  Mike gave me this disc personally when he came thru Chicagoland a few years ago to play at the Park West, and I had a chance to hang out with him a bit at the hotel before the show.    The disc itself is one of Mike’s best in many ways -- from the humor of “It’s For You” to the longing in “Til Jesu Comes” to the great guitar solo at the end of “Go With God But Go,” and finally the last song, which my wife and I call our own, “Ache Beautiful.”  Great job, Mike, no one can say it quite like you.

 

77’s – the island records release

A friend loaned me a copy of this 77’s album on vinyl in high school and I wrote down all of the lyrics to “I Could Laugh.”  I wonder if Mike would be surprised to know that I can sing the whole song to this day?   This album was very influential on my musical tastes in high school and early college.  Word has it that it was released on island records at the same time that The Joshua Tree (U2) was raking in all of the money.  This 77’s record was neglected by Island because of that, and it’s a shame.  Like Safe As Milk, this project, more than anything shows what a great songwriter Mike Roe is.  He matches the words so beautifully with the chord structures of his choice, and his solos strike with artistic flair.  In his voice you constantly hear a longing for something “more,” and he paints dreams of a different world that we all would rather see.

 

77’s – Eighty Eight

This could have been the best live album ever recorded in history, except that the venue itself was an echo chamber into the drum microphones.  However, the content itself and all of the performers should be nominated for the best live project ever recorded.  Just the fact that Mike only decided to use 4 of his well known songs, but instead take the BIG risk of writing a pure hoppin’ rhythm and blues album shows guts before glory.  But the problem is that it works.  The only other problem is that Mike Roe is one of the greatest rock guitarists ever and he deserves much more attention than he’s received.   If you’ve never heard of the 77’s or this album, find it and buy it now.   You will not be disappointed.  Whereas the other CDs listed above are about Mike’s writing style, this CD is listed because of his playing and ability to showcase himself as one of the world’s most talented guitarists/performers.  You MUST hear some of the playing on this project.  WOW.

 

PORTISHEAD – Portishead

I’ve never heard music like this before.  It makes me want to be original at anything I attempt in life.  Whereas I can typically play most of the rock music I hear (or at least the chord charts!), I have no understanding of what Portishead is even doing most of the time.   That’s a good feeling when it sounds as good as this does.  Beth Gibbons is an outstanding vocalist to this eerie, soundtrack style backdrop band.  Love it like a gripping 50s horror movie that lulls you in with the most intoxicating spectrum of sound collage you’ve ever heard before.

 

DIGABLE  PLANETS  – Blowout Comb

While I readily admit that I don’t know much about hip hop, I will tell you that I do understand that Butterfly, LadyBug and Doodlebug had a keen sense for rap, poetry and groove music.  This is low fi at it’s best and the bottom end on this CD is intense.  I haven’t heard rap as cool as this before or since, although Guru’s Jazzmatazz tried but just couldn’t achieve quite the same feel of dub and subwoofer bellowing.  I had a chance to see these Creamy Spies in Minneapolis back in ’95 and they had the best live band in rap, with a horn section that ripped and a DJ that really knew how to spin the records.  It’s a shame such a talented group split up, but it’s great that their beauty was captured so well before they called it quits.  You haven’t heard good hip hop until you’ve spun Blowout Comb.

 

PINK FLOYD – Wish You Were Here

Out of all the Floyd CDs I have enjoyed, this one stands out to me the most.  It is quite moody, as Floyd is known for being moody, but within reason.  Who doesn’t get angry at the corporate greed of “The Machine?”  What record company doesn’t only care about the bottom line of sales (“Have A Cigar”)?  And who hasn’t ever longed for a loved one, as in “Wish You Were Here?”    The special effects on this CD are trippy but very much enjoyable, and the music is the most transcendent Floyd has produced...  My personal favorite is the elevator that goes up to the party upstairs at the end of side one.  Or the guitarist at the campfire that plays along with the radio in front of “Wish You Were Here.”   A brilliant hippy record, the best of it’s day.

 

SOUL COUGHING – Ruby Vroom

Whatever happened to these outstanding beat poets?  This is a CD that I listen to much in the same way I listen to Portishead (although quite stylistically different).  I don’t really comprehend everything that’s going on in the music itself, I just know that it’s quite unusual and stirring.  This band plays with a flair for originality and intensity.   And they sound great.  Period.   If you’re ever in a used CD store, this is a diamond in the rough – you’ll probably find it for about $7, and at that price it’s the best deal in any store.

 

Tie:  THE CHOIR – Chase The Kangaroo & THE CHOIR – Circle Slide

Recorded in the same studios at the same time as Adam Again’s 10 Songs, Chase the Kangaroo became a legend in it’s day.   Probably what stands out the most to me years later is the (once again) genius bass playing of Tim Chandler.  He is the greatest bass player to walk the Earth.  And we will never forget songs like “Children Of Time,” the cool bridge with Chandler freaking all of us out on “Clouds,” and the great reminder from Ecclesiastes in “Sad Face.”  Indeed, there is a time and a season for everything.  Derri and Steve have brought so much to me over the years.  Chase the Kangaroo was the point of understanding for me – the first time I realized how much I was going to enjoy the music from these guys.  Great stuff.  I had to make this a tie, because even though my associations with Chase the Kangaroo bring back the best of memories, I still believe that the music to Circle Slide is just as beautiful – maybe even better.

 

TIE:  THE PRAYER CHAIN – Shawl & THE PRAYER CHAIN - Mercury

Prayer Chain is a landmark breakthrough California CCM grunge band.  And just when we needed them too.  These guys had passion, torment, desire and the ability to feel “the blood of the redeemer.”  They played like it too.  If only all loud art could be as powerful as the Chain were live.  If only more Pearl Jam fans had heard this disc back in ’93.  The Chain could’ve easily given Eddie Vedder a run for his money!  The first time I saw the Prayer Chain was at a place called Club Post Nuclear in southern California.  BoH and I were there together, and it was as if our lives were forever changed by their visceral performance.  I think everyone else in America had this experience with Nirvana, minus the obvious spiritual overtones.  But we were on tour so much we must’ve missed Nirvana, and the Chain made up for what we missed -- and they did it with the style and sophistication that Kurt Cobain’s immature ramblings often missed.  While Kurt took his anger and obsessed until destruction, Tim Taber and the Prayer Chain took their anger and looked for the source.  Their music became a release of that anger too, and even better, the release was unto the Almighty.  Over the years I’ve found that when releasing your anger, the Almighty is a great place to release it.  He’s proven time and time again that He can take it.  Over the next few years I had the privilege of playing alongside the Chain all over Canada, California and in Europe.  They were always a great bunch of guys, and this CD is a testament to that.

 

TIE:  CRYSTAL LEWIS – Joy  & REZ BAND -- Bootleg

Now I know some of you reading this just said, “Did He just fall off the boat?  What’s up with this?!  Especially after the CHAIN!”   All I can say is that I am listing the most influential albums on my life, and these two would have to be a part of that.  I had already been a fan of Crystal Lewis from her earlier band Wild Blue Yonder (and if you think the band name was bold you should have heard Crystal singing “Somewhere over the rainbow!”).  When a friend in college started listening to this I began to realize that Crystal was singing beautifully, and her subject matter and the truths therein touched my heart.  Songs like “God is Somebody,” “You didn’t have to do it,” and “Bloodstained Pages” might be as close as I ever get to really enjoying black gospel music, and this young white girl really screams it out well in this old recording.  On the other hand, The ReZ Band tape made this list for two reasons – the very concert recorded on this Bootleg project was the first real rock concert I ever went to (at the Odeum in Villa Park, IL, 1983 – Steve Taylor warmed up!).  Also, I played this tape over and over as a 13 year old and I learned every bass line on the tape and played right along with it.  I guess you could say that I learned the bass from ReZ Band and have been rocking ever since!

 

DEPECHE MODE – VIOLATOR

This was the first time that we saw mechanical beats shake off the stigma of only belonging to industrial styled acts like Front 242 or Nitzer Ebb.  Those bands knew how to throw down cool rhythms for sure, but they always came off as faceless; pulsating enough to make you dance but lacking any form of passion, and one could not connect a feeling to it.  And then came Violator.  This was raw emotion.  From hope to despair, from addiction to redemption, Martin L. Gore and the resonant voice of David Gahan proved that songs made of beats carried straight from machines can still have feeling and power.  I have a theory about the concept in the lyrics of this recording but i have not ever been able to research it so you’ll have to ask me personally what I think the truth behind Violator is.  However i’ll venture to offer that this is one of the most compelling spiritual bands in the secular market to exist.  Their prayers, their times of meditation and reflection, and quite possibly the addictions that torment them are woven tightly into the fabric of gorgeous art they consistently produce.  Flood has also proven over the years that he is quite obviously the greatest producer on earth, and i’m sure that in choosing Flood to help them along the way they were proven very wise in that choice and were propelled to even further greatness.  Violator is their greatest CD, transcending time to prove itself year after year in listening.

 

U2 – Under a Blood Red Sky

This was my first exposure to so called “secular” rock music.  It was the first real rock tape I ever bought besides Sweet Comfort Band and the Imperials.  U2, however, was the first “real” rock tape I’d ever owned, so I could immediately see what would happen when musicians of similar interests would get together and use music as the most powerful tool for human expression.  No band has ever done it like U2, and even from the early days we could feel it clearly.  Their spiritual interests, political interests and ambivalent ROCK music interests all collided into a kaleidoscope of passionate art.  U2 brought passion to the table, all the while looking upward and singing “Gloria,” under a Blood Red Sky.

 

TIE:  U2 – Rattle and Hum & U2 – All That You Can’t Leave Behind

Later in their careers after the world selling “Joshua Tree” U2 decided to show us some of what they were all about on the big screen.  From Bono’s opening exclamation, “This is a song Charles Manson stole from the Beatles… we’re stealing it back!”  to the color of the live footage in Arizona, the movie and the soundtrack to Rattle and Hum are phenomenal.  I had a chance to watch this at the IMAX Theater on Navy Pier in Chicago a few winters ago, and it brought tears to my eyes.  There’s something that stirs within me when I hear the heart of this band, and I can never quite pinpoint it, but it is only U2 that can bring it out of me quite like this.  Similarly, the concert experience I had in March of 2001 made the eyes well up with tears.  Being able to hang out with Bono earlier that day was a blast too, but that might be too much to go into here!  To be honest with you, even a so-called “poor” U2 album is better than many bands’ greatest efforts.  The tie here could be for every U2 CD ever made… But to keep the rock star worship at a minimum, this tie represents two of my many favorite U2 projects.

 

STEVE TAYLOR – Now the Truth Can Be Told

If I had to pick one record by Steve it would probably be “I Want To Be A Clone,” the 6-song ep (’83) in which we knew something groundbreaking was coming to the CCM scene.  But really, all of Steve Taylor’s music has inspired me over the many years he has written and performed.  I’ve seen him about 20 times live, and his show is always LIVER than any live show on the planet.  I saw him break his ankle at Cornerstone ’84, I saw him dress up like a school teacher when he was on tour with the Choir (’87?), and saw him rock all the Dutch in Holland at Flevo (’93?) and I saw him in a crazy MUD festival in Calgary Alberta Canada on my honeymoon (’96)! I’ve had the privilege of hanging out with Steve a few times over the years, and I’ve always appreciated his humor, his ability to take risks, his great attitude and his pure genius.  Much of this can be found on this outstanding compilation disc.

 

SIXPENCE NONE THE RICHER – The Fatherless and The Widow

Sixpence gave me this disc and even autographed it for me when I had the chance to hang out with them in Holland quite a few years ago.   Even before they hit it big time we could sense that between Matt’s  woven tapestry of guitar  work and Leigh’s heavenly vocals, this band was destined for greatness.   I’ll admit that the quality production on their new CDs are better than this first one, however it was this disc and the band live that originally turned heads wherever it went back in ’93.  They deserve every bit of the success they’ve achieved, and it was a privilege to be able to borrow their producer for a while!  (Armand Petri - All Good Weeds Grow Up)

 

THE PIXIES – Tromp Le Monde

To be honest with you I’ve never owned a copy of this record.   It was copied for me as a gift, I believe from my friend Anna up in Örskoldsvik Sweden if I remember correctly!  Nonetheless, it had a huge impact on me.  Holy smokes, it was ROCK, and to me it was PUNK ROCK, even if it’s not supposed to be categorized that way.  Anyway it was too creative and had too many cool chords to be considered punk.   How can I describe Frank Black (formerly Black Francis in the Pixies) and this record?  A few words come to mind… vulgar… original… rude… ingenious… obnoxious… a powerful punch of tricky well crafted songs tied together with downright distorted guitars and a vocalist screaming like he’s watching a crime in progress.  They also had  extremely different approaches to chording.  If I ever owned a rock record, it was this one.  And I never owned it.   (But I listened to it on one rockin’ Australian tour quite a bit!  Thanks, Anna!)

 

STARFLYER 59 -  She’s The Queen

Subtle vocal stylings meet drudging grunge – this is shoe gazer rock at it’s best!   Jason Martin’s sonic wall of guitars and his resurrection of the Big Muff put SF59 on the road to success.  But this particular album started things off even better, especially “Blue collar Love (Joy Electric Dub Mix)” and the lounge version of “Monterey.”   Jason’s dreamy vocals coupled with the band’s louder than loud approach to the music itself puts SF 59 into a category all it’s own.  A great choice for an early Tooth and Nail effort.

 

LSU – Graceshaker

Mike Knott is a dangerous man, dangerous because he challenges us to react, to respond and to think for ourselves.  His means of doing so are in his ability to handle the Truth, and not always in a delicate manner.  He uses the Truth to shock, amaze and enlighten us, and never more so than on Graceshaker, one of many masterpieces that Mike Knott has given to us over the years.  My favorite Mike Knott song of all time is on this particular CD, “Blame.”  And the use of the cello, both backwards and forward brings the project as a whole into a more conceptual feel.  A compelling musical exploration of Truth, doubt, faith and the greatest of all – grace.

 

LSU – The Grape Prophet

In this blend of rock music and story telling we follow our hero Ellis, from his roots as an orange picker in the Orchard (the Vineyard?)  all the way to Kansas City to meet the Grape Prophet (the Kansas City Prophets? – type that one into Yahoo and decide for yourself).  A journey that starts because a friend of Ellis has apparently been persuaded to join the ranks of the Grape Prophet and all His followers, lower prophets and interpreters.  Ellis learns a lot along the way and we are astounded at the depth of Rock and Roll.  When I listen to this CD I thank God for providing us with such a cool form of music to express, explore and ultimately praise Him with.  Kudos to Steve Hindalong from the Choir, who lent his hand and voice (as the Grape Prophet!) to help out.

 

MIKE KNOTT – Fluid

This is another touch of greatness from the genius mind of this eclectic artist.  This time we follow the same story from many different perspectives and angles.  We hear the story of Jenny May and the car crash that took her life.  The story is told by Jenny May herself, as well as from her boyfriend, from her boyfriend’s best friend, from Satan, from the ambulance that drove her to the hospital (“Drive”), from her doctor, from Knott as the narrator, and finally from the Lord Himself.   The title of the project is perfect, as even the song titles form a sentence about Jenny May.  The sound itself is more classic rock than Knott’s previous punk and alterna-sounding albums, a stylistic change for Knott, and a brilliant maneuver, elevating himself to higher status as “not just another rock musician.”   He’s not just another rock musician – He’s Mike Knott.

 

SONIC YOUTH – Experimental Jet Set, Trash and No Star

Alternate tunings, alternative drum technique, artsy ambient rock captured in time and space on their most intelligent album to date.  It seems that musicians love Sonic Youth more than anyone else does.  There’s a reason for that.  Musicians dream of being able to pull together independent styles that are unique to only themselves, yet still be craved by the masses.  That’s the power of the Youth.

 

GARBAGE – Garbage

I don’t know too much about this band.  I know that it’s three guys from Wisconsin and a girl from Scotland.  I know that drummer Butch Vig is an incredible producer (think Nirvana’s Nevermind).  I know that they warmed up for U2 and a friend of mine told me it’s one of the worst shows he’s ever seen, I guess they had some amps explode on them and never fully recovered.  But the most important thing I know is that on this CD, every song rocks.  And I guess that’s really all I need to know.

 

TIE:  RADIOHEAD – OK Computer & RADIOHEAD -- Amnesiac

After “The Bends” no one was ready for this!  Whereas before I’d conjured up the image of RadioBoston, now I was closing my eyes and seeing FloydHead!  These projects are slow and moody, as much as any of your favorite Pink Floyd albums from the 70s.  But it is also progressive, on the cutting edge of modern production, artistically compelling as though it were tugging on the strings of your heart when you listen.  Great for listening to with autumn colors bursting in the fall.  Radiohead are quite simply the greatest recording band on the planet as we have now crossed the threshold of this new millennium.  What more can I say?

 

THE CURE – Disintegration

This is the most beautiful dirge I know of since Verdi’s Requiem.  Much of the project has a mournful feeling to it, not unlike that of a child who can’t seem to find his way home, or a lover searching for that perfect other.  The guitar craftsmanship of Robert Smith is stunning in a way that only he can play and the vocals could only be sung by him as well.  Hopeless and manic, this project is almost an exploration of the world’s shadows – those dark and mysterious places few dare to look into.  Even creepy at times (“Lullabye”), the writing of Smith and the layered background of his fellow musicians create a longing, from the first track thru the end.  The longing is like when you live in the Midwest and you stand next to the ocean for the first time, stunned at the depth of nature.  A friend of mine once described this album best, when he noted that listening to Disintegration is like going out to the woods and building a campfire.  You gather the sticks and marshmallows, get excited over the first spark, fan the flame and slowly and happily build a bon fire.  In the beginning it’s the wonder and amazement of the fire, and the feeling you get is powerfully passionate.  But as time passes and you stare more and more into the embers, a lull comes over you and brings you into a reflective state of hush.  Pretty soon everyone is still there, but it’s quieter, more serene, a great moment together of humbled peace… Put in Disintegration and listen without interruption from beginning to end.  Maybe you’ll understand what he means.

 

MILES DAVIS – Filles De Kilimanjaro

The first instrument I ever learned and played well was trumpet and there were many heroes I had on the instrument.  But one was different from the rest.  He stood a head taller and played miles cooler (pun intended) than any of the rest.  He didn’t ever examine the music scene, inspect what the bee boppers were doing and follow jazz trends – he SET the trends.  And not just for jazz music either.  Miles influenced many of the greatest musicians out there by always reinventing himself, being in front of whatever was fashionable and refusing to grow old.  I have the highest of respect for Miles Davis, and this is my favorite out of the many CDs I own recorded by him.  If you ever really take a good listen to this album, make sure to check out the 14 minute long “Tout De Suite.”  I listen to it quite often in the car.  It might be my most favorite jazz number ever.

 

THE DOORS – Strange Days

The sophomore album from Jim Morrison and company is my personal fave from the Doors, and I believe I have all their records including the live double disc and the Jim Morrison poetry project.  They were an ingenious band, sometimes pop, sometimes blues; sometimes way too far out there -- sometimes state of consciousness is the only way to fly.  And the Doors did fly by the seat of their pants often times, and failed quite a bit at that too.  But what do they say? “It’s better to have loved and lost…” You know the rest.  This is a great album of great songs, including “Strange Days” (still applicable today I think), “You’re Lost, Little Girl” and the beat poem, “Horse Latitudes” and finally “When The Music’s Over.”  Indeed, Jim.  Turn out the lights.  “Strange Days” in my opinion is stronger than their original album and should be a constant on anyone’s all time rock and roll list.

 

PRINCE AND THE REVOLUTION – Under The Cherry Moon

There is only one man who can be called the Mozart of rock music and it is the Artist.  His works contain the most intricate vocal harmonies, intricate enough to be comparable to anything in the realm of classical music.  Prince is versatile in a number of styles (although the presence of funk almost always shows up somewhere), and his influence has reached many different artists in all aspects of the modern music scene of the last 20 years.  There has not been a more revolutionary musician this century.  While the movie left quite a bit to be desired the soundtrack to Under The Cherry Moon is the Artist’s crowning achievement.  Of special interest should be the title track, of course there’s “Kiss,”  “I Wonder U,” and the extremely touching soul tune, “Sometimes It Snows In April.”  If it’s been a while since you heard this project or you’ve never listened to the Artist, check this one out.  It’s as clean as he gets, and in my opinion, his best is there.

 

BJORK – VESPERTINE

This is simply the best CD of her entire artistic career.  She’s the cheery nymph, she’s the Dancer in the Dark and she’s melodramatic and happy to be able to belt it out to an astounded audience night after night.  On this disc, the mood is a bit quieter than her previous efforts, but beautifully done, like a professional lullaby put to a laptop.  I still miss the Sugarcubes, but for this, it’s definitely worth it.

 

 

 

MORE TIPS OF THE HAT (that did not make the 33)…

 

OVER THE RHINE – Films For Radio

They’ve been at it for years and have now proven themselves to be artists that write straight from the heart.  This is by far their best recording.  If the world were a fair place it would be these guys that were on top of the music scene.  Kudos are long overdue to a band with the best female vocals, the greatest feel and approach to their heart felt tunes, and a band that has conquered my heart seeing them many times over the years.

 

ON – Shifting Skin

A beautiful power pop recording, flawless in musicianship and gorgeous hooks.  Ken Anderson once again delivers great music in a huge way. 

 

DANIELSON FAMILE – TRI-DANIELSON

Actually anything you can pick up by these guys proves to be something different from the usual, and I guess it all comes down to whether or not you’re into music that is anything but normal.   I guess the thing that is most inspiring about the Danielsons is realizing that they have basically created their own style of music – and they might be the only band to have really done this since the early days of U2 – I mean it is really their own style.  They created it and they’ve created at least three CDs I know of doing what they do best.  How do I describe it in words?  THAT is TOTALLY IMPOSSIBLE.  I guess I would compare their chord charts to the Pixies, and the artistic-humorous-acoustic sound itself to Ed’s Redeeming Qualities or the un-plugged B-52s, and then throw in a bit of the vocal stylings of Sonic Youth, maybe an octave or two higher than Thurston can sing though!  I think that this particular disc is my fave.  Songs like Potty Mouth and Flesh (if you can call them songs – they’re more like works of art) are just absolutely cool in a way that only this band can be, because they’re the only ones that do what they do.  Whether you like it or not, God bless them for that!                                 

 

BREAKFAST WITH AMY – DAD

Breakfast with Amy was one of the most radical rock bands of the early nineties, featuring renowned Christian alt-rock producer Chris Colbert on guitar and ex-Dakoda Motor Co. guitarist David Koval on lead vocal. One of the most innovative and theatrical Christian rock bands ever, and this particular CD is, to coin a phrase from Mike Roe, some of the best “gloom-doom-post-punk-maniac-music” I have ever heard!  Buy this old one for the alternative approaches, great storytelling and “When The Rain Comes Down.”

 

JOHN CAGE –  IN A LANDSCAPE

The philosopher/poet that inspired me long before I’d ever played in any formation of a real band.  He was the world’s first, and quite possibly the only TRUE alternative musician.  This particular CD contains some of my favorite piano tunes he had written, mostly from the first half of the 1900s.  And by piano I am referring to prepared piano, toy piano and other surprises that you’ve never heard of before or since this great genius.  To sum up what John Cage thinks of being a genius though, a quote from the master himself:  "Use any means to keep from being a genius, all means to become one."   To change the subject: "Art is the imitation of nature in her manner of operation...  And what is the purpose of writing music? One is, of course, not dealing with purposes but with sounds. Or the answer must take the form of a paradox: a purposeful purposelessness or a purposeless play. This play, however, is an affirmation of life -- not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living, which is so excellent once one gets one's mind and one's desires out of its way and lets it act of its own accord."

 

UN COUER EN HIVER  (SOUNDTRACK FROM THE FRENCH FILM) 

In English the film would be called “ A Heart In Winter,” and you can find it in any of the foreign sections in your local video store.  The film itself is OK – Claude Sautet is a masterful director with a breath-taking sense of timing, of when to cut and when to linger, a master of silences that speak volumes. Not to mention the expertise he has in adding sound to picture.  But it’s the sound in this movie that makes it a masterpiece.  The music of Ravel from the score of this film is actually the best thing about the movie – it brings out more intensity, more passion.  It adds flavor, and quite frankly I don’t think the film would have held up without this score.  It’s probably pretty hard to get hold of the soundtrack to this film in the US, but it is definitely worth a bit of a search.