#fucking good and his band sounds fantastic together so much harmony its insane

[sunkissedlouis]

saw AM for the first time last night 😭 had the bestest time!!!! they’re fucking amazing

1 down, 4 more shows to attend this summer with @footy-met-mussy 💖

[thomasharpole]

Jubilance - 7/28

A evening with the Dave Matthews Band in Tampa, FL

I am still trying to piece together and process what I experienced last night in the sweaty mess of a pit, watching some of the most talented, world-class musicians weave unforgettable songs and melodies together with us. The last 2 hours of this show amounted to the most powerful and most spiritual experience I’ve ever had seeing live music. Words, especially in English, fall short of my experience and don’t do it justice. It seems futile to write about it, and yet I want to preserve this night in my writing and internalize the lesson from last night as much as I can.

To stand so close at a show is something I had only done 10 years ago, but I wasn’t ready at the time to understand what I was seeing. As a musician, to watch these men last night, who I have now listened to for the better part of 20 years, genuinely felt like spending time with family or the closest friends of your life.

I could see everything. I could see the smiles, the laughter, the concentration, the emotional highs and lows, and the chemistry of these humans on stage together. I could see Carter’s love and thrill for each band member, his genuine undying smile and extraordinary speed and language he speaks on the drum kit. I could see him feel every single cymbal hit before it even landed. I could see Jeff and Rashawn’s friendship as two brass players, and the way they observe each other through their intricate solos. I could see Fonz get giddy during certain musical moments. I could see Tim’s immense concentration and what feels like his access to another dimension in the way he speaks through his guitar. I could see Buddy fresh and fly demeanor, his constant smile while playing keys, and how he is so deeply appreciated by the other legacy members of the band. I could see Dave’s raw outpouring of himself into every song he sang, his soul eternally begging to be released and shown to the world through the language of music. I could also see the warm twinkle in Dave’s eye from 25 feet away, you could tell that he, who feels like a lifelong friend to all of us, felt right at home and his presence communicated something like “I am so thrilled and happy to be here with you, my loving family, after so damn long.”

The venue disappeared for me because we were so close. I felt like I was in a small room with these guys. I was listening to exactly what I would want to hear and watch if I knew I had one evening left until my life was over.

Below are a few moments from certain songs that I wish to hold onto forever.

Setlist and moments:

**I felt the show really started to take off from JTR onward, so I’m going to start song comments at that point.

Tripping Billies Raven Seek Up So Right When The World Ends Seven You Might Die Trying Satellite The Riff

JTR: the pit crew was absolutely thrilled when JTR started playing. “Rain down on me” resonated deeply with a crowd and musicians who were so brutally covered in the sweat and humidity of the evening, it felt as if everyone in this moment resigned to the extreme physical state we were all in, and the musicians were right there with us. The way the horns built the the jam motif in the end of this tune, teasing and getting snagged on the same melody (between 4 and 6 time sig) until their final release in the last 8 bars. The way Carter carries the group through the end, with Dave high stepping along the way… just fantastic.

The Song that Jane Likes: Sweet song, amazing visuals behind the stage, and first time playing this year on tour.

Typical Situation: Something happened at this point in the show that changed the dynamic of the rest of the night. I watched Carter and Dave come alive during this tune. First, to see Carter playing shaker, mallets, and drumsticks on one song and switch effortlessly between them was awesome. But when this song went into the 7/8 chromatic jam during the middle of the outro it was off the charts. Buddy was hammering the keyboard, Carter was slamming the china cymbals, and Dave was DANCING harder than I’ve seen in 4 shows. The pit sang this one loud.

Do You Remember: Endless 90s nostalgia for me. The visuals of the bicycle evoke extremely colorful feelings of my childhood on Ivy St. The endless summer days, the laughter and sports and quiet evenings outside. My dad sitting on a chair watching us. I could write pages on just this feeling, but this song is a portal into my childhood.

Grey Street: Felt the song coming, and as Carter counted the intro out loud the tempo is so recognizable, it almost has its own identity for this song as the drums roll into the opening chord. The third verse comes back to life and the pit loves it. The girl I’m with says something about me being the crazy man creeping and I make a maniac face and she laughs. The thrill of seeing someone I know witness this song in person, up close, is overwhelmingly wholesome. It feels for a moment, as if the night has conspired to make this all happen. I almost hit the floor during the yeah scream on Grey Street after the 3rd chorus. Belted the note too hard and lost oxygen to my head, felt myself about to pass out immediately and grabbed on for dear life. The sax and trumpet duel during the outro between Jeff and Rashawn is staggering and leads us into the final riff of the song which just punches you in its goodness and power.

If Only: Just a humble little song. I need to listen to this one again (live version) to draw out what I remember from the stage.

Dancing Nancies: Dark, absolutely astounding. Tim Reynolds played the most other-worldly guitar solo with visuals on the back of broken dolls, babies, all kinds of crazy things. Dave began the song asking all the right questions about what he could have been to the audience. The hits on the outro in series of 8 were felt in my chest. Best version of it I’ve seen.

Warehouse: My all-time favorite song from this band. This intro is the most visceral and raw sequence in the show. When the sax, trumpet, guitar, and keys come together all in tremolo in 32nd notes, the frequencies and overtones created along with Carter’s enormous rapid cymbal sound is so intense you can see the physical effect it has on Dave. The closest way I could describe this intro as if the soul is being extricated by force out of the body and almost vacuumed or sucked upwards into a new reality it has to reckon with. “Only hope you’re here to pull me out, when I start going under, as the warehouse slips away” gives me chills. (To get a slight idea of what this is like, watch this clip at 38–40 mins. It’s from a different show, but note especially Dave’s viscerally clear connection with something beyond our understanding around the 39m mark.)

The strobes and lights here only add to the intensity of this intro. The huge yell before the 2nd verse. The drive into the outro. The salsa hits at the end. Rashawn just driving the trumpet to where it sounds like a different instrument. And the final lyrics in the moment of great reckoning:

That’s our blood down there⁣

Seems poured from the hands of angels⁣

Then trickle into the ground⁣

Leaves the Warehouse bare and empty⁣

Then my heart’s numbered beat⁣

Will echo in this empty room⁣

And fear wells in me⁣

Til’ nothing seems big enough to stay long

So I am going away, I am going away

The final Eadd9 chord lands as the warm summation and resolution to the song. I see the faces of all of my friends from the last 10 years that have been moved by this piece of music as well, and every place I have been in my life when listening to this song. It’s a sweet ending.

Everyday: One of Buddy’s licks on the intro to this song was a 32nd note run that blew the entire band away. He played 16 notes in under 2 seconds down the scale. Carter, who is probably the most attentive to rhythm, had his jaw on the floor. Everyone was loving it. The improv vocals. The 3 part harmonies. The crowd singing Hani Hani come and dance with me. The final build. Richness.

PNP > Rapunzel: Endlessly playful song that is perfect way to end a show. Funniest part of the show is when Dave’s string broke about 15 seconds before the outro-dance-explosion that becomes the end of this song. It was very critical that the new guitar get on before the downbeat of the outro because of how much the song picks up and to keep that energy. As Dave is bending his neck to put the new guitar on, after 3 hours of playing and probably in some pain, he changed the last lyrics of Rapunzel to: “Every single thing you do to me, my god I’m FUCKED, but I’ll do, my best, for you, I’ll do yeaaaaaa. LOL! I’m sure he’s used this change before but it was timed so perfectly with him tangled in a new guitar strap, with his head banging against the various items, knowing he had about 3 seconds to pull of this change and it was not going well.

Encore:

Singing From The Windows: I could not hold it together for this song. After a year and a half of what has felt like chaos in the lives of many people and in humanity, the acceptance and hope that pours from this song, and out of Dave, is enough to floor anyone that has an ounce of care for the rest of our species. I looked around and everyone around me in the pit was crying. Dave got choked up on this song the other night and looked like he was barely holding it together. There was a quiet and serenity for a moment without the band, and all of the focus went to the songwriter and the gripping power one man and a guitar can have on an audience of 20,000 people.

Why I Am: Man, it really felt like Leroi still carries a presence in this band and you can tell why the band sings it often.

Stay: By this point, everyone was so insanely hot in the pit that they were belting Stay knowing that it was the last chance we would get to sing together. The way Carter syncopates the china cymbals on the outro of this song has always captured me. To watch Dave dance to this one more time while the horns went off and spread his arms wide on the final 3 seconds of the song was an exclamation point on a wild ass evening.

— —

Anyway, I wish that every human being could experience what I did last night. The world would be an infinitely better place. It’s not often that we have moments in our life that alter the course of the path we’re on, but I think it’s important to recognize them when they happen.

Whatever God is or means, or exists insofar as we allow him/her/it into this world, God was absolutely radiating last night. In the faces of the people, and in the entity that lives and breathes and is created when these musicians get together on stage. There is something above and beyond human form that I am humbled to have been a witness to.

It sounds a bit wild, but we are so unbelievably bigger than our bodies trick us into thinking we are. We are so much bigger than the Warehouse that contains us. And yet, we must live and do God’s work through this physical vessel because it is the only form that we take while we’re here. We must learn from this self and feed it, nourish it, teach it to become more than what it thinks it is.

One other thought: to share this musical experience alone is wonderful. But to have shared this band with someone I love so deeply is all a person could ever ask for. It is the epitome of the human experience, that is, to watch another person receive their own gift, their own joy, their own meaning from something you believe in, and to know they will carry it with them forever. They are changed by your truth. I got to see her become fully and endlessly alive because of this music last night. And that was infinitely enough.

We left the venue on fire with gratitute. It sounds wild, but I remember thinking I could die quite peacefully at that moment! I couldn’t conjure any other thing I needed to go do on this planet. I couldn’t conjure a negative thought. It was impossible. The word “ecstasy” doesn’t do this feeling justice, because the emotions are so much further in range than just intense happiness. Perhaps “awareness” or “power” or “spiritual fullness” resound a bit more to me, but for everyone it is different.

I think what’s most special about this band is that their music permeates into the core of who you are as a human being. It’s spiritual. It’s bursting with truth. It transforms how you see the world. It becomes your attitude and your way of life. This is why these guys sold more live tickets than any other group on earth for 10 years straight. The range of emotion embedded in the music is also the perfect analogy of what we as people honestly grapple with during our journey here. The lessons are clear. The music has given millions of people permission to live better lives: with jubilance, resilience, and an understanding that joy exists even amidst the deepest of pain. Each day we have an opportunity to show someone else this honest attitude, this truth, through whatever medium we choose. It is one of the greatest gifts we can offer another person. There is no question I will carry the richness of this experience with me, from now until the end of my life. I am forever thankful for nights like this, nights that are simply transcendent.

Thomas Harpole

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[bobdylanrevisited]

Planet Waves

Released: 17 January 1974

Rating: 9/10

This is easily Dylan’s most underrated record, though it was released to a muted critical and commercial response, and was Dylan’s only studio album with Asylum Records. Finally backed by The Band on an official release, this is a return to form for the worlds greatest artist. The album has a much darker mood than anything Dylan had released before, with themes of failing relationships, desperation, and death. This record was released just before Bob’s first tour with The Band in 8 years, which would signal the beginning of the end for his marriage to Sara and his sobriety from harder drugs. Setting aside the personal issues going on behind the scenes, this album sounds amazing, with Dylan and The Band completely in sync. Plus, Bob’s voice now had a much more mature and world weary tone.

1) On A Night Like This - The opening track may trick you into thinking this album is going to be happy and upbeat. This tune is fun and joyful, a romantic song about spending time with a loved one, and Dylan’s country crooner voice has completely disappeared. It’s not a particularly complicated track, and is probably the least memorable on the album, but it certainly gives you a false sense of security considering the bleak tone the rest of the album is about to deliver.

2) Going, Going, Gone - My favourite song on the record. Although the lyrics revolve around suicide, I think it’s just such an amazing track, especially the latter half with an uplifting bridge before the music breaks down in an incredibly impressive style. Robbie Robertson’s guitar is fucking brilliant here, as is Dylan’s anguished voice and the backing vocals of Rick Danko. It’s just a phenomenal performance all round, and even though live versions are also enjoyable, nothing has ever topped the perfection of this recording.

3) Tough Mama - The main thing that sets this album apart from Dylan’s others is the actual music itself. Bob’s songwriting is usually the main reason I fall in love with a song, but on this record, the lyrics are secondary. This track is proof that a relatively simple song, about a relationship breaking down and going off with another woman (bit of foreshadowing by Bob), can be elevated by a backing band that seem as if they are tuned into Bob’s brain. Every member of The Band is playing at their peak, and Bob’s vocals and harmonica playing are insanely good throughout the album, but this track stands out as perfect musical synchronicity between friends with a deep love and respect for one another.

4) Hazel - A nice little track about love and desperation, again elevated by brilliant performances all round. Its nothing special but the bridge is great and displays a lot of musical prowess, once again Bob’s voice is more the star of the show than the the lyrics. The ‘Last Waltz’ live performance is fantastic though, I would always choose to listen to that version as The Band were on fire at that concert, sadly their last as a complete unit.

5) Something There Is About You - Much like the previous track, this is another love song that tells a fairly interesting story, but would be rather forgettable save for Rick Danko’s bass, Levon Helm’s drumming, and Garth Hudson’s keyboard. It’s also nice to hear a rare mention of Dylan’s hometown Duluth.

6) Forever Young (Slow) - Originally written for his kids, this ballad speaks of hope and optimism, with Dylan wishing the perfect life for his children. It’s an incredibly famous track and rightly so, it’s a genuinely lovely tune which sums up every parents dreams for their offspring.

7) Forever Young (Quick) - The exact same song as above, however this one feels like it could have been recorded during ‘Highway 61 Revisited’. I may be alone in this, but I prefer this version. The Band sound fucking brilliant, the music is exhilarating, with Rick Danko’s bass stealing the show again. Dylan sounds like his 60s self again, and I also love his harmonica playing. Basically, this is a fantastic rock song which still retains its incredibly personal and uplifting message.

8) Dirge - Dylan’s darkest track so far. From the haunting piano opening, to the first line of ‘I hate myself for loving you’, this song is all about a breakup and eventually death. People argue whether the lyrics are taking aim at Sara (unlikely as they’re still together at this point) or if his hatred is towards his audience. The latter seems correct, as he sings about finding purpose and following his own path, then wanting to disappear. Bob’s voice is phenomenal here, both desperate and acidic, and it’s the kind of song that stops you in your tracks. His angriest, most vitriolic tune since ‘Ballad Of A Thin Man’, and its brilliant.

9) You Angel You - Bob has dismissed this song for having ‘dummy lyrics’ and it’s easy to see why. It’s overly sweet and shallow, the music is fairly basic, and it’s a low point on the album. It’s still a decent enough tune, and Dylan again sounds brilliant, but it is out of keeping with the rest of the complex and intricate album.

10) Never Say Goodbye - I love the mystery of the lyrics, is it about a woman or a place? Regardless, it’s a track I always forget about until I listen to the album and remember it’s a fantastic song, again with some amazing guitar and harmonies. I know I’ve said this a lot, but The Band feel like an extension of Dylan, it’s just effortless and so intertwined, they always sounds incredible together.

11) Wedding Song - This solo acoustic track may genuinely be my vows at my nuptials. The whole song is so unashamedly drenched in love and warmth, it’s genuinely heartwarming and yet simultaneously heart wrenching, knowing the future of his marriage. Though there are some questionable lyrics, ‘I love you more than blood’, I defy anyone to find another track that encapsulates raw emotion, borderline obsession, and the desperation to understand all encompassing adoration. It’s a bittersweet note to end on, though I wouldn’t expect this album to end any other way.

Verdict: I love this record. Bob does some of his best singing so far, The Band does some of their most impressive playing, and the songs are a return to complex form following the Woodstock years of tranquility. The album evokes a unique reaction every time I listen to it, one of trying to avoid impending doom and looking for hope under a shroud of darkness. Whilst it’s not the most uplifting 42 minutes and there are a couple of tracks which let the overall album down, it’s certainly challenging and constantly fascinating. The tour that followed this release was a huge success, though Dylan and The Band reportedly hated performing what was essentially a series of greatest hit concerts, with very little played from this album. Unfortunately, Dylan’s wandering eye on the tour would result in Sara leaving him, and Bob would be both depressed and alone. Whilst his home life was falling apart, it would lead to Bob creating some of the most personal, poetic, and perfect music ever recorded.

[racingtoaredlight]

Random Thoughts on Bass

I’ve gone wayyy down a bass wormhole, so you’ll all have to deal.

Technically, bass came extremely easy considering all the years I played guitar and had already known how to build intermediately complex basslines.  However, I don’t know if it’s DNA or memory residue, but I’ve found myself still drilling down technique quite a bit in practice.

There is a law of diminishing returns for a reason, though.

***

If you watched the above video (and trust me, I wouldn’t blame you if you didn’t), you’d see what seemed to be a pretty solid case and demonstration of a technique that could be incredibly beneficial to a bassist playing more complex music.

Years ago, I wrote about the idea of musical geometry and how some of the more authoritarian composers like Bach, Beethoven and Wagner would build these musical architectures out of harmonies and the piece’s form.  All the different elements come together in synchronized harmony to create a piece of music.  Here’s a simplified visualization.

Theoretically, this idea is evident in how ideas are formed, established, reinforced and how they exist in harmony when performed.  Thinking of Bach’s music in terms of fractals is especially correlated as it’s perfectly constructed with very little ornamentation or “unimportant” notes.

And when I’ve talked about acoustics, I’ve talked about how lower pitched notes have “bigger” sound waves.  Music is a physical being...it is physical sound waves moving through the air.  When you look at sound waves, volume is determined by amplitued (how high the sound waves crest) while pitch is determined by wavelength (distance between high points).  It’s why orchestras can have two sections of 18 violins, and be totally cool with 8 bassists.

What I’m getting at with this is this...

Playing bass like in the video at the top is such a distorted, disfigured, tortured fashion of what a bass player should be, I feel bad for the guy.  The amount of time and energy and intellect and practice and frustration it took to learn how to play like that is hard to sum up.  Even for a prodigy like Matthew Garrison.

Which leads to the most important question I believe he answered incorrectly...WHY?

***

He believes, and I don’t think he’s being falsely modest, that he wasn’t born with good enough physical ability to play bass at the speed the other musicians in Joe Zawinul’s band (keys, sax and other horns, drums) could play with.  By adopting this 4-fingered right hand technique, and playing a bass on a stand we’ll talk about in a second, he could play these blazingly fast sax and keyboard lines.

...if they were looking for someone to play those blazingly fast sax and keyboard lines, they wouldn’t have hired a bassist.

Matthew Garrison kept his job because, like I said, he’s a prodigy bassist.  Intellectually, he’s on a level that is really, really hard to explain.  Like, remember how I explained theoretical fractals?  He takes complexity and makes fractals with more complexity.

Here he is playing Coltrane’s “Giant Steps”...one of the most difficult set of harmonic changes that exist in Western music, while still being musical...in 7/8 time, and accompanying himself soling with these crazy chords.

***

Yall in the comments have criticized me for being overly technical or not embracing the beauty of simplicity, and trust me...I totally get it.  I watch a video like this and totally understand where you’re coming from.

I’m completely unmoved by this.  I can appreciate the technique and mastery of theory in real time, but I never want to listen to this again.

It’s hard to criticize Garrison because he’s so advanced.  He mentioned Jaco though...Jaco played in Zawinul’s band (that’s putting it generously...the truth is closer to Jaco is the guy Zawinul hired Garrison to replicate), and he didn’t need this contorted 4-finger technique, nor did he need some douchey guitar stand instead of a strap.

He might have been playing alien jazz shit, but Jaco was down-deep, a redneck from Florida playing Chitlins Circuit funk.  He always had soul and he always had a groove.  Jaco took bass to new places, but he was always a bassist and filled that role first and foremost.

This music has no groove.  Garrison rarely has any groove.  He has these flashy solos, these advanced concepts, these intricately arranged parts...but not a single bit of it is memorable.  And all I can help but think is if he wanted to solo this bad, and spent this much time on it...why is he playing bass to begin with?

***

Take a look at his bass.  It’s a no-doubt work of art in terms of craftsmanship, and I personally love Fodera basses, so I’m not going to call them garbage but...

Remember how I talked about the beauty of simplicity when talking about the Fender Precision Bass?  One pickup, one volume and one tone control...and that’s it.  And while I love Fodera’s and they’re played by the best bassists on earth, something seems contradictory about them...

They’re made of these insanely beautiful tone woods, which they painstakingly go through the work of explaining the sonic differences of...but then they slap active pickups, a pre-amp, and so many electronics that it needs TWO 9v batteries to power.

Why use incredible tone woods if you’re going to cover it all up with solid-state electric stuff?

That big block in the middle of his two pickups?  It’s called a “ramp.”  What it allows a bassist to do is to minimize the amount of effort expended to pluck the string...thereby reducing the time your finger is on the string and allowing you to play faster.

Again, you have these incredible tone woods already covered up by electronics, and now you install something that reduces the vibrations of the strings even more?  Like, the farther a signal has to travel, the more filters and preamps it goes through, the more its original signal gets degraded...look at the comparisons of a P-Bass’ electronics to the ones you’ll see in a Fodera.

Here’s the Fodera.

Here’s the P-Bass...

I’m not saying Fodera’s are garbage (farrrrr from that)...just that there’s contradictory things going on with their design, things that are meant to improve aspects of a bass’ performance that aren’t an important role that the instrument should serve.  A good defensive first baseman is a nice luxury, but if you hired that player to hit 40 HR’s and smack the ball all over the field but they’re Doug Minkevitch slapping singles .250 the time instead, is that really a good thing?

In a vacuum having extremely developed niche skills are fantastic.  But in a team setting, if there’s not that balance between all the different sets of skills, it’s going to be hard to be successful.  Same with a musical team where the fulcrum of your lineup (the bass) is busy trying to show off defensive skills like a shortstop who was built to do such things.

***

Which leads me to my deep dive into bass culture.

It’s just a whole damn lot of missing the fucking point.  Bass is the ultimate BIG PICTURE instrument...even when you look at the bass notes’ sound waves, you see that it’s about the BIG PICTURE.  What Garrison and a lot of bass culture do is focus on the tiny, minute details in the fractals underneath a microscope on this atomic, granular level...and in the process...completely miss the fucking point of PLAYING BASS.

Who the fuck gives a shit about a bassist tapping?  Even slap...the ultimate parlor trick...is nothing more than “look at me!” wankery.  Is that bad?  I don’t know if it is or not, but the point is that every time a bassist does this flashy nonsense or steps into the spotlight to do some slappy wappy bullshit, the music loses a fundamental element.

The bass is a foundational instrument, theoretically speaking.  It defines the key, it sets the groove or rhythm, and it serves as the musical liason between the composition, the beat and the melody.  Jaco served this role in a visible fashion, but he did not abandon the crucial responsibility a bassist serves in a band.

***

Listen to the first 30 seconds of the Wayne Shorter piece and then listen to as much as you can stomach of the bass duet version.

The whole purpose of this post was to get old man lawn angry at the idea of missing the fucking point.  You have these two bassists with more ability than ever is necessary jamming out to one of the absolutely iconic bass riffs in jazz and you never would have known it.

They’re even playing the same notes as the groove.  But there isn’t any.  There’s nothing there.  This music is soulless and vapid.  You have this faux artistic black and white camera nonsense that’s just as unnecessary as these two bassists creating a musical mudpit because fast soloing simply doesn’t work as well in lower registers.

Think about it...would you try to beat a Ferrari off the line at a red light in a Jeep Wrangler?  Then why waste time souping your Wrangler up so that it will?

Meanwhile bassists Paul McCartney is a millionaire while Sting and Gene Simmons are both worth over $300 million.  There are a bunch of bands who could use bassists as talented as these two guys to make music, and yet they’d rather try to teach a dolphin how to walk on a leash.

[doomedandstoned]

BAILEY’S CHOICE

Youngblood Supercult guitarist Bailey Gonzales shares her 10 favorite albums of Autumn.

Photo by Johnny Hubbard at Doomed & Stoned Fest

First off, let me preface by saying that this list is just a fraction of what I would include on a good, solid Autumn playlist, but everything must end at some point. Most of these you’ve probably heard, some you may not be familiar with, and others perhaps long forgotten and thus need a good revisiting. So here goes:

1. Crosby, Stills, Nash, & Young – Déjà vu

This has been in my catalog since I first started smoking weed in the fall of my freshman year of high school and learned to enjoy the hazy, beautiful strains of intricate harmonies that permeate CSNY’s iconic brand of folk-blues rock. Their albums were always on rotation in my house when I was growing up, but until I started to fully understand its cosmic, layered beauty, Déjà vu fell more or less into the “lame music my parents listen to” category for me. Now it’s a staple, especially as the weather starts to cool and the leaves start to turn, and I’m thrown into some kind of sepia-tinged yearning for the past. Funny how things change. This album holds some of the group’s most acclaimed work; I can’t point out a single track I’d skip over.

2. Graveyard – Graveyard

Graveyard by Graveyard

Speaking of high school—I grew up in a very small town in Southeast Kansas, and when MySpace made its debut (yes, MySpace), I found a page for this indie label called Tee Pee Records that absolutely dictated what I would listen to take the edge of my Black Sabbath cravings—this is where I was ultimately introduced to stoner rock and all of the branches of the retro heavy metal genre—and one of them that always stuck with me as I worshipped this label’s releases thereafter was Graveyard’s self-titled album. There are so many great tracks on this album, with “Thin Line” being an absolute favorite and even an echoing of one of my darkest autumn remembrances (won’t delve into it, but the subject matter will lead you where you need to go). Fantastic, timeless album.

3. Jonathan Snipes & William Hutson – Room 237

Room 237 (2012) is a funny little documentary. I love it, despite the fact that this film lays out conspiracies about Stanley Kubrick’s version of The Shining that range from absolutely Kubrickesque crazy-but-plausible to totally ludicrous, leaping-to-judgement scenarios and breakdowns related to the hidden puzzles within the original adaptation. But, we are talking about music here: this album plays like Stranger Things meets Goblin meets John Carpenter. There is nothing necessarily special about it, but in trying to find an OST that would fit neatly within this list, this fella kind of jumped out to me. Not everybody enjoys soundtracks, and while I could listen to creepy, ambient synth all day long, every day, Room 237 seems like it could entrance any listener, especially with standout tracks like “To Keep From Falling Off” to “Universal Weak Male” and even with the closing track, “Dies Irae” which plays off the original theme from The Shining.

4. Trouble – Trouble

It blows my mind that this album was released in 1990. Everything about it screams, “I WANT TO MAKE YOUR EARS BLEED: ‘70s METAL STLYE.” It’s like a lost and very angry Sir Lord Baltimore album was found in someone’s murky basement and sold in a musty, long forgotten record shop. The kind of place where you might hear whispers of dark legends. Somewhere that may be evocative, in legend, of the kind of place that Mayhem’s late singer, Dead, slit his wrists, throat, and blew his brains out and everyone commenced for this orgiastic blood feast of mourning to say, uh, “let’s take a photo of his dead body and slap it on a bootleg album cover and make necklaces out of his skull...” It’s not that harsh, but there’s definitely something spooky, dark, and forbidden about it. You may ask yourself, if you’re just hearing this album for the first time: “Why don’t they play some of these tracks on the radio?” Well, my child...do you really want to know?

5. The Steepwater Band – Revelation Sunday

This collection of hot tunes from The Steepwater Band is, apart from 2011’s Clava, one of our band’s road staples. We often don’t agree on much when that road cagey feeling hits or when disagreements happen, which incidentally is why things tend to work well with us, but The Steepwater Band, Mount Carmel, and Gary Clark Junior are all things we can come to terms with through the van’s trebly stock speakers. Maybe it’s the bluesiness. Very moody folk-blues rock tunes, with a touch of whiskey-fueled country, is what these guys exhibit in songs like “Slow Train Drag,” “Dance Me A Number,” and “Steel Sky.” A plus material, in my book, and good for the road on a cold night’s ramble.

6. Black Sabbath – Never Say Die!

Can people stop it with the “I’m tired of Black Sabbath” comments??? You know they are the reason we’re all here, and whether you like to admit it or not, you dig a good Sabbath tune either once in a while or every day. Doctor’s orders. Now I don’t think that a playlist is complete without a Black Sabbath album, but autumn seems the appropriate time for their fumbling, but strong conclusion — 1978’s Never Say Die!   And I really don’t care that I know I’m in the minority for loving this album. To me, while it’s their most strained Ozzy-era album (I won’t even touch 13, so don’t ask), it’s full of premonitions of things to come, including a full out jazz brawl in “Breakout” that reminds me of the mean streets in Dirty Harry, and songs that might make the bravest of our genre cry, like “Junior’s Eyes.” “Shock Wave” goes through the typical rough and tumble changes that Black Sabbath fans learn to embrace, but it comes in wave after wave after wave. Hell, even the title track is nearly full-out punk rock. If you’ve avoided this album, please—give it a spin. Even if it’s only to hear Bill Ward sing. It’s the album I fell into when I joined my first band in the fall of 2008 and what pushed me into the direction of branching out to things I’d long avoided. I literally shit my pants every time the first synth breakdown in “Johnny Blade” comes over the speakers, and I think you should, too.

7. Madonna – Madonna

Speaking of shit you probably don’t wanna read…who out of us has given Madonna’s 1983 debut a spin? Anyone? Bueller? Yeah, I didn’t think so. For you folks who can appreciate this one, I applaud you for admitting it. It’s not a sin to listen to Madonna (tell that one to the Vatican), but unless she’s been covertly transformed into Lana Del Rey or someone else on the darker and more modern side of the pop spectrum, you’d be hard pressed to find an admitted fan in our heavy underground group. And you know what? I don’t give a single fuck (yes, I learned that language from M herself). She’s a goddess, an icon, a killer songwriter—if you don’t believe me, tell that to the $400 million she has neatly tucked away—and dammit, she taught me to give a little less of a fuck in times where I don’t have too many to spare. This is another reason my parents are badass. Who in the world would buy their kid the “Like A Virgin” album only if their 11-year-old can ask for it by name without getting too embarrassed at the thought of saying “virgin” out loud to the Camelot Music clerk? Yeah, that’s right. Anyway, listen to this. Just do it...Madonna would.

8. The Midnight Ghost Train – Buffalo

Buffalo by The Midnight Ghost Train

I met Steve Moss at a show in Topeka in late 2009 at a dive bar where the drummer from my first band was singing in his new group. We did the obligatory thing and then, holy shit—this band starts playing and glasses start clinking and I swear to god I thought the whole damn place was going to cave in. They play a bunch of tunes and I’m so fully entranced it’s stupid. After the show, I went up to their singer/guitarist and said, “Um, that was really fucking awesome. I loved how you slipped “Hand of Doom into the middle of one of your songs.” Bam. We were instant buds. I couldn’t believe that they had come out of Topeka, Kansas. Later, while they were prepping to record 2012’s Buffalo, we had a very memorable fall jam session and some shows together, and EVERY. DAMNED. TIME. I felt like there was just something insanely special happening. Buffalo proved to be an instant classic, and even though The Midnight Ghost Train boys seem to always be on tour, I visit with my old pal Steve from time to time when he’s around, and nothing can erase those crazy, almost LSD-like imprinted memories of our house shows together. Hell, we reunited again just last month in another Topeka dive bar. I still have almost 3 hours’ worth of an interview I need to write that documents Steve’s early life up until the recording of Cold Was The Ground. The circle goes round and round. And I sure as hell can’t shake that sound.

9. Creedence Clearwater Revival – Green River

I don’t know what everyone else thinks about when they hear the track “Green River” from Creedence Clearwater Revival, but I think of Gary Ridgeway. I know that’s way far off, but I can’t help it. I also think about the album cover, and how many people still try to copy it, unintentionally. And I think about Stephen King. If you’ve read a few of his novels, you know from some of his passages, he’s a total CCR freak. I’ll give him a pass for mentioning Springsteen so much just because he’s a damn genius. But I bet the casual listener has never heard the song “Sinister Purpose” on the radio airwaves. It sounds like it belongs on a damn Leaf Hound album or something. Thank god for small favors. This is the epitome of southern blues rock. All you Lynyrd Skynyrd fans can fight me (although I won’t knock them), but CCR has earned their grimy, yet rightful spot as the Bayou’s most raw and creepy rock group. And way down in the fall, there’s always a bad moon rising.

10. Buffalo – Dead Forever...

Man, I was going to write up a few more albums, but this is the end of the line, folks. Australia’s Buffalo caps it off with their 1972 album, Dead Forever...   I can see this piece being released today, and that’s why I’m so glad everyone in this community puts out music that can rival little-known bands like Buffalo. I have a sweet spot for this group. Nobody will ever be able to answer why this killer band could never receive any airplay, and that question still lingers as absolute over processed shit continues to infiltrate the airwaves and real emotion can’t shine through. One of the promotional stickers for this record was, “Play this album LOUD.” Seen that before? Is history repeating itself in belittling our efforts to get out there and WARP THE FUCK out of people’s minds? I guess so. But we can fix that. Put the needle on some Buffalo, don your battle jacket, and work on getting some fuzz into some onlooker’s ears. Listen carefully, and don’t let the Buffalo situation happen to us all.

Hear Bailey's 'Autumn Vibes' Playlist on Spotify

Photo by Johnny Hubbard

The Great American Death Rattle by Youngblood Supercult

[rodger-that-studios]

My Top 20 Albums of All Time

Before The Storm, part 1 of 2

A top 20? (that should be, part one of a top twenty, so a top ten? yeah?)

Wow, how original.

I can practically hear your anguished cries.

Maybe so.

“There certainly haven’t been approximately 417.803 of those published since last Friday”

But sit down and strap in. This one’s a doozy.

Before we start, let me add that you don’t have to love these albums as much as I do, but trust me, arrogant as this sounds, you’re going to want to check them out.

To that you’re obviously crying out “You don’t know me!”

It doesn’t matter. Don’t have to.

These albums changed my life, so without further ado, lets get started. Are you sitting comfortably?

The Final (ish) Countdown (Albums 20-11)

20 – Tapestry – Carole King (1971)

https://www.youtube.com/watch?v=KQXY8zwQgmc

It’s a beauty

Let’s start as we mean to go on.

Presented here is one of the first songs I ever remember ‘freaking out’ to. To clarify, I mean that amazing, goosebumps inducing effect that music can have on you.

The ‘whoa’ moment, if you will.

That song is the immortal Natural Woman from this seminal album. It’s also a family favourite. Maybe we’ll never know if it was written for one James Taylor (who might make an appearance later on) but frankly, who cares. This is a beautiful record.

19 – Curtain Call: The Hits – Eminem (2005)

https://www.youtube.com/watch?v=_Yhyp-_hX2s

Eminem is angry about…everything

Blimey. A Rap album as early as this?

Guess I’m full of surprises.

I’m no Eminem ‘fan’, but this one is special. There’s a swagger to this album that never fails to make me feel a thousand feet tall. Slim Shady exploded onto the scene with classic after satirical classic. Lose Yourself is outstanding, as is the insanity and genuine comedy of My Name Is. I think we all know what his name is now. Mic drop.

18 – A/B – Kaleo (2016)

https://www.youtube.com/watch?v=0-7IHOXkiV8

People from Iceland frighten me

This one is by far the youngest album on our list. But if I had to describe the debut for Kaleo, an imposing bunch of vikings (er, Icelanders) led by the incredibly talented Jökull Júlíusson (ridiculous name alert) in a few words, ‘ass kicking masterpiece’ comes to mind.

The band have gone from strength to strength since they dropped this monster in June 2016, thanks in large part to the lead single from A/B, Way Down We Go. It’s hauntingly beautiful and stays with you long after its finished. Another highlight is the albums opening track, No Good, which is a rip roaring way for the band to say hello. It’s absolutely filthy, but oh so fantastic.

17 – The Cult – Pure Cult (The Singles) 1984-1985) – 2000

https://www.youtube.com/watch?v=ZCOSPtyZAPA

Drum Fill Drum Fill Drum FILLLLLL

An absolute riot of an album.

It’s frankly ludicrous for a band to release a singles anthology that lasts for 77 bloody minutes, but The Cult are that good.

Prick up your ears for Rain and She Sells Sanctuary, which are definite stand outs. Rain batters against your eardrums with screaming guitars, while Sanctuary shifts the focus onto the drums. The song only contains a handful of lyrics, but one listen to the drum fill before the final chorus will make you understand why. Some songs speak for themselves.

16 – Greatest Hits – Simon And Garfunkel – 1972

https://www.youtube.com/watch?v=L-JQ1q-13Ek

This one has stayed with me because I still remember the first listen to this album.

I was sat in my Grandma’s lounge. Family have always played a part in the albums I’ve carried into adulthood. It didn’t take me long to learn why she loves these two. This album will make you cry, make you cheer and everything in-between.

The best albums tell stories, and ones told by this ’72 collection like The Boxer and Bridge Over Troubled Water will live for a very long time.

Gorgeous stuff.

15 – Where The Light Is, John Mayer Live in LA – 2008

https://www.youtube.com/watch?v=7K2DQ8XBRbU

Smooooooooth Mr Mayer

The following descriptions accurately describe Mr John Mayer;

Guitar Prodigy

Remarkable Songwriter

Harmonic Whizkid

Arrogant Arsehole

Okay, okay. I’ll explain why.

Mayer’s ego may be bigger than his stacked discography, but sadly it’s for a very good reason. The man is a modern musical artist, and doesn’t he know it.

But this album makes it okay, and here’s why.

Mayer played a one off sold out show in the Nokia Theatre in his home town of LA back in ’08, playing hits straight out of his strange little head to a sea of adoring fans.

It was an elegant affair, with Mayer and his touring band taking centre stage for almost three hours worth of jazz and blues. Indeed the sense of rhythm, melody and especially harmony on hits like Daughters, In Your Atmosphere and Gravity (which Johnny boy performs here with a full gospel choir) is absolutely stunning. A personal highlight is his incredible arrangement of Tom Petty’s Free Fallin’(RIP Tom we love you), which leaves me speechless every single time. Overalll Mayer offers a soaring and beautiful album which is perhaps the most intimate and honest thing he’s ever written.

And remember, all thats coming from the dude that wrote Your Body is a Wonderland. Damn smooth.

14 – Vessel – Twenty One Pilots – 2013

https://www.youtube.com/watch?v=szp9x1ZlZn4

Kick Some Ass lads

Twenty One Pilots needed something big to break onto the international scene. The rock duo had already amassed a huge following in the good old US of A, but Europe was a different beast. And with Vessel they knocked it out of the park.

Hits from this album introduced Tyler Joseph and Josh Dunn to the world. Joseph flip flops between sonorous masterclasses and rapping like a demon while Dunn channels the greats behind the kit. Copeland, Moon, Rich. The gang’s all here, and its as if they’re controlling Dunn’s arms and telling his brain what to do like the plot from a terrible 80s horror movie.

It is indeed a rip rollicking tour de force of an album. Migrane will make you think, Guns for Hands (bloody ridiculous song title) will make you groove, and my personal favourite here, Trees, will make you grit your teeth and maybe even shed a few tears, an entire spectrum of feelings is contained to 12 songs.

How many other bands can do that?

Put simply, check this one out. It’s remarkable.

13 – Celebrity Skin – Hole – 1998

https://www.youtube.com/watch?v=v0CYB5V9e64

Tears you to pieces

Lets summarise the short lived story of Hole, shall we?

In equal parts the tortured love child of Courtney Love and Courtney Love’s grief over the terrible loss of Kurt Cobain, Hole created a very special album.

Love and Cobain were of course famously writing countless songs together before he died, and many of them would, in one way or another, make up the famous track list offered here. Heartbreak can often create strangely beautiful things, and Celebrity Skin is the epitome of that.

From the first second you can feel Love’s fury at society. Thats why it works, because its as relevant to hate the world today as it was back in ’98. To that end, honestly the album’s title track is, in a word, aggressive. Listening to it really puts you into her head. It’s as if someone took a confetti cannon, filled it with that typical 90s neon-soaked angst and rage and then fired it point blank into your face.

CAN YOU FEEL IT YET?

Okay calm down.

Don’t know what came over me there.

But then come back to earth and pair track one with the other clear stand out, Malibu. This song is effortlessly haunting and heartbreakingly beautiful. The listener is oblivious to what the lyrics warn them of running away from, but we somehow know we just need to listen to the warning. Perhaps this song was written for Kurt and he will tragically never know, but we’ll know and this song, indeed this album, will tear you apart and stay with you forever.

12 – What’s The Story Morning Glory – Oasis – 1995

https://www.youtube.com/watch?v=tI-5uv4wryI

Liam Gallagher looks like he’s wearing handcuffs every time he sings. Don’t believe me? Watch and learn

Oasis have been a part of my life for pretty much as long as I can remember.

We had them on perpetually when I was growing up, and I remember the first time my Dad introduced me to the standout song on this album full of standout songs, Champagne Supernova.

“Kid!”

“Yeah?”

“Check out this tune!”

Plays Supernova in our living room

It’s incredible, yes, but there’s only one question I have when the song fades.

“But Dad, what even is a Champagne Supernova?”

“Shut up Will, it’s ironic.”

leaves

One listen was all it took.

While the also classic Heathen Chemistry perhaps hit me more upon first impressions, as I’ve grown up my love for this album has positively skyrocketed. Although I still have a soft spot for Little By Little, one of the first songs I ever learned on guitar.

God these are the useless facts I know you want out of a musical countdown.

What’s The Story is special, though. It’s a special, perfectly Brit-Pop record. For me at least, songs like Some Might Say, She’s Electric and the aforementioned alcoholic death of a star have gotten me through some incredibly tough times. I look fondly back at the album now and remember nights in, up to my neck in GCSE revision with one of those terrible bedside lamps, which made it look like I was doing Algebra in Gollum’s cave. I’d whack on this record and all the stress would go away for a few glorious moments. It was almost fun to work stuff out with Noel Liam and the rest of the lads screaming down my earholes. It somehow made it okay.

Champagne Supernova, though, as you’ve probably guessed, is simply something else. Of course it lasts for seven minutes, but every second is captivating. Its an untouchable song, and an awesome album.

11 – Appetite For Destruction – Guns N Roses – 1987

https://www.youtube.com/watch?v=gORKiQ0h1ZA

Fuck Yeah

This one is simply the motherfucking king of debut albums.

Guns N Roses redefined sweet rock and roll with this album, and it was the first thing they ever released. Since it was released back in ’87 the album has rocked up (not sorry about the pun) 28 Million album sales. Numbers like that don’t lie. So here’s my take on one of the greatest rock albums of all time.

Standout one is the opening track, Welcome To The Jungle

Literally.

This song, despite being track one, is a dark horse, but I don’t know how much that means when your album is made up of majestic stallions. Guns N Roses collectively smash down your defences and musically kick the shit out of you with outstanding guitar and pounding drums. But don’t worry its all executed so beautifully you’ll probably stand yourself up dust yourself off, say thank you and dive straight back in. Trust me you ain’t seen nothing yet.

We continue with Paradise City. Its safe to say that Axl Rose Slash and company do not pull punches. This is one of the greatest guitar performances of all time. GNR present a sprawling 6 minute journey into madness, and you’re gonna want to be along for the ride. Prick up your ears for the closing solo, which is Slash at his most powerful. Slash is a god among men. Won’t take you long to discover why.

The third, and final (but not final) standout is the immortal Sweet Child O Mine

I’m already playing air guitar just thinking about this one and you are too don’t even lie.

If you were to open a Guns N Roses art museum, in which different songs became famous paintings, then Sweet Child O Mine is the ceiling of the Cistene fucking Chapel. it’s that good. Its many things. What do you want? A story about love? Yep, its there. A Stadium Anthem for the ages? Yeah no worries. A Masterpiece? I damn well think so. In fact thats the perfect description for Appetite for Destruction. Its a flawless album, indeed the spirit of sex drugs rock and roll in a CD case.

*takes breath*

Okay. Pause. Hit pause.

Christ on a bike.

I’ve been rambling for EVER.

Listen hard to these ten, and strap in for part 2