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[behindthelinernotes]

Less Than Jake- Hello Rockview Review

Released in 1998

Label: Capitol 

Ah, summertime: Barbecues are cooking up steaks, the weather is just right for tanning and music fans everywhere are cranking out the sweet jams of the season. We’re talkin’ bands like 311, Sublime, Incubus, the Red Hot Chili Peppers and today’s subject, Less Than Jake. For those unfamiliar with ska or ska-punk, prepare for a bumpy ride ahead! Formed in Gainesville, Fl, this quintet not only blows you away with fast pop-punk songs, but also blends together elements of reggae and ska with the help of trombonist Buddy Schaub and saxophonist  Peter “JR” Wasilewski. Note: Hello Rockview, their 3rd studio album was released in 1998, prior to JR’s arrival with LTJ. Other musicians on this album include second trombonist Pete Anna and JR’s predecessor Derron Nuhfer.

But boy oh boy, does this album pack a punch! No song is longer than 3 ½

minutes; which should give you a good idea of the structure of most of these songs. Guitarist Chris Demakes tends to stick to the standard three-chord formula, and songs such as Last One Out Of Liberty City and Big Crash prove this point while being incredibly catchy and danceable.

That’s another thing: be prepared to jump and have a good time with this album. This factor is largely due to drummer Vinnie Fiorello’s timekeeping; it’s upbeat, fast and not without its’ share of complexity. For all those that love the frenetic energy that punk brings, Motto is for you and there’s always Danny Says to remind you of Sublime (Date Rape and All You Need, to be precise ).

Plus, you’ve got a trombonist and saxophone player; it just adds more oomph to their overall sound.  I mean, listen to Nervous In The Alley. It’d be impossible for someone to not dance around while listening to that! Plus the quite literal Theme Song For H Street has a nice jaunty bounce to it. Who’d have thought that a horns section could carry as much weight as the rest of the band?

Lastly, there’s the bass. Let me be frank: Roger Manganelli is no slouch on the bass. Five State Drive hooks you in right from the bass riff, as bouncy as it is. Last One Out Of Liberty City has a fantastic bass part that shows Roger has chops to match the rest of the band. Vocals are split between Chris and Roger, so there isn’t too much that’s different. That being said, Help Save The Youth Of America From Exploding: If the title alone doesn’t grab you, I don’t know what will. Catchy, and yet autobiographical at the same time; many of LTJ’s songs have this kind of lyrical structure. Other awesome vocal performances can be found on Richard Allen George… (Listen to the whole thing and your patience is rewarded), History Of A Boring Town; the “whoa” harmonies are classic pop-punk and the closer Al’s War. Finding purpose has never been this fun.

Of course, talking about Less Than Jake means also talking about one of their most well-known songs, which happens to be from Hello Rockview. If you don’t know this song, then it’s time for a proper introduction. Ladies and gentlemen, I give you one of the best songs of the 1990s (in my opinion), and one of LTJ’s finest moments:

ALL MY BEST FRIENDS ARE METALHEADS!!!

Everything about this song is just fantastic. The vocals are catchy, the guitar is aggressive and melodic, the horns are bright and echo the guitar; even the bass carries a warm tone with this song. Some of you may remember this song from the soundtrack to a film based on the then-popular anime series, Digimon (released in October 2000). I not only still own that CD, but play it quite often in my iPod, this song being one of the reasons why it has stayed so amazing in my mind some 12 years later. If there is one song that you should absolutely listen to from this album, it’s this one right here. It’s one of the crown jewels of ‘90s pop punk (along with Blink-182’s Dammit, Green Day’s Welcome To Paradise and No Doubt’s Excuse Me Mr.), and an essential for anyone interested in getting into LTJ.

Hello Rockview is an album that you can blast at a party or in your own backyard for a barbecue with family. It’s light and fun, while containing some fantastic hooks and securing the trombone’s place in musical history. There are some songs that have a definite hardcore influence, but they seem to serve a nice change of pace from the ska that has a major hold on the direction of this LP. Summer never sounded so good.

Last one out of Liberty City, burn it to the ground!

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Yes- Fragile Review

Originally released in 1971 (reissued in 2003)

Label: Atlantic (reissued on Elektra/Rhino)

 What could best be described as one of the greatest prog albums of all time, and the second in what I like to call “The Yes Trifecta” (sandwiched in between The Yes Album and Close To The Edge) Yes’ Fragile pushes the boundaries of musical virtuosity and puts a heavy emphasis on the power of the keyboard in rock music; thanks in large part to one Rick Wakeman (who replaced Tony Kaye, the previous keyboardist). This effect can best be heard on the bridge of a later track on the album, South Side Of The Sky; melodrama never sounded so sweet. If you like your piano solos on the shorter side, you can always check out Cans And Brahms, Wakeman’s version of several sections of Brahms’ Fourth Symphony in E Minor (the third movement, to be precise); 1:38 is all it takes.

Of course, the keyboard is just one part of Yes. Every member has an important part to play on Fragile, from the vocalist on down. Jon Anderson’s vocals are stylish while also helping to carry the melody from one verse to the next. Honestly, listen to Roundabout and tell me you don’t want to yell out the chorus with the rest of the band at the top of your lungs; I’ve tried it, it’s quite fun. The vocals get their own spotlight on We Have Heaven, layering several parts together in under 2 minutes; though it doesn’t hurt that there’s still three instrumental solos to go. But we’ll be quick with those.

On to the drums, my personal favourite (I’m biased, due to them being my instrument of choice, you see). The one and only Bill Bruford, later the mastermind behind the legendary jazz-fusion group Bill Bruford’s Earthworks  (side-point: check them out, you will not regret it), makes his mark on Fragile. From the bridge of Roundabout and the syncopation of the snare and ride cymbal, which lasts for a good chunk of time, to his work in odd time signatures on Five Per Cent For Nothing and Heart Of The Sunrise, the man can do no wrong. Even on slower paced songs like Long Distance Runaround and The Fish (Schindleria Praematurus), the drums still contain a substance and flair to them that is utterly timeless by today’s rock standards.

Guitar and bass have their shining moments as well. Steve Howe’s solo piece, Mood For A Day is both exhilarating and oddly calming, all at the same time. The same can be said of the very first notes Howe plays on Roundabout. Chris Squire’s bass work on the aforementioned The Fish is stellar, plus Roundabout’s bass gets funky in the verse patterns. Also keep an eye out for the main riff in Heart Of The Sunrise: guitar and bass play the same part in that section. Included in the 2003 reissue are two bonus tracks, a 10-minute plus cover of Paul Simon’s America that’ll really blow you away and an early rough mix of Roundabout, where you can clearly hear several key differences from this mix to what ended up on the finished LP.  

At the end of the day, Fragile reassures music fans that creativity can help keep a band fresh and exciting (this was Yes’ fourth studio album, and the band would continue its’ success from here on out). Just look at the album cover: poetry in motion. Yes is worth checking out because every member contributes something worth finding out for yourself; Fragile reinforces this in spades. Essential listening for any prog fan.

[behindthelinernotes]

They Might Be Giants- The Pink Album Review

 Released: November 4, 1986 on Bar/None/Restless Records

I’m a music nerd, so chances are I was bound to talk about TMBG at some point, right?

They Might Be Giants are one of the seminal indie rock bands of the 1980s, along with R.E.M, the Talking Heads and the Pixies among others. Mostly because their quirky lyrics and use of drum machines and samples was incredibly inventive when they burst onto the scene. Originally, the Johns (Flansburgh and Linnell) met in high school, and, in 1982, first performed as a duo, later making a name for themselves in clubs on New York City’s East Side, but later turned into a full-band act where they’ve continued making music to this day (and their headquarters is in Brooklyn).

Their debut album is certainly unique in many ways, from the jokey backwards ending on Hide Away Folk Family to the Johnny Cash sample on Boat of Car and of course; The Day. You can wave your lighter proudly when that song comes on! The album is short enough, so you can fit in multiple listens, which this definitely requires.

They Might Be Giants are able to write happy songs about very depressing subject matter. Nowhere is this more prevalent than Don’t Let’s Start, one of my favourite tracks and one of the band’s biggest songs to date. The riff will stay in your head for days, and the chorus is so catchy, you won’t remember the song’s about a guy lamenting the suicide of his girlfriend to her cat.  And this was a single! I bet you feel pretty awkward right about now… but that’s alright, we’ll revisit this kind of stuff on the next album.

The nonsensical delivery of both Linnell and Flansburgh (they split vocal duties) makes for some interesting sound bytes.

So allow me to present the best of the Johns Vol. 1:

From Alienation’s For The Rich:

This song is dedicated to all you modern day troubadours out there

And I think I know who you are

From Put Your Hand Inside The Puppet Head:

Memo to myself: Do the dumb things I gotta do

Touch the puppet head

 From Rhythm Section Want Ad:

Do you sing like Hollywood on purpose

You guys must be into the Eurhythmics

 And lastly, from Number Three:

A rich man once told me

"Hey, life's a funny thing"

A poor man once told me

That he can't afford to speak

 If you’re looking to get into They Might Be Giants, this is a perfect place to start! And it only gets better from here, as the next albums will illustrate.

[behindthelinernotes]

So....where have I been exactly?

1. Finishing one college program and starting another.

2. Working a variety of jobs.

3. Trying to figure myself out too :P

I’m going to be posting here more in the future when I am able to, so prepare for more reviews and bad puns! Or don’t.

[behindthelinernotes]

Vinyl Update/New Releases Roundup

Let's kill two with one here.

Just ordered all three LP's of Jukebox The Ghost's discography (YES!!!!!), should be here in a few weeks.

Sadly, finding any affordable vinyl of the first four They Might Be Giants albums is proving difficult.

But this week had two great albums, from Against Me! and Warpaint. Pick up both of those ASAP.

That's about it for now.

Next Time; Beats Music App Review

[behindthelinernotes]

Vinyl Collection: That's a thing now

So my collection consists of only two records as of now, but I plan on getting more soon:

Doolittle-Pixies

The Low End Theory- A Tribe Called Quest

I definitely want Jukebox The Ghost vinyl, so that's what I'll most likely grab next.

Next time: New Releases Roundup

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MY GOD.

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So, how 'bout that new Against Me! album? Pretty dang good. 

Review coming soon.

[behindthelinernotes]

Coachella: Gone in 120 Minutes and The Future of Music?

Note to self: Save up for (insert festival in a year far from now). Stuff sells out FAST.

Also, Beats Music is coming on the 21st, the supposed "future of music". 

Expect a review of that.

Yes, I use streaming apps. In fact, I might start to review a bunch of apps on my phone.

That's it for now. Check you later!

[behindthelinernotes]

An Open Question

Now that we're into 2014, I want to know from you, Tumblr: What albums are you stoked to hear this year?

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WHERE WOULD YOU MOST LIKE TO VISIT ON YOUR PLANET?

Don't really know, as i don't travel much. But, i'd say Seattle's pretty big on the list. I wonder if there really is as much rain there as they say...

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Some Albums I'm Looking Forward To Hearing in 2014

Since last year was (in my opinion) one of the best musical years in recent memory, here's a look at some of the albums I'm excited for this year in no particular order:

Against Me!-Transgender Dysphoria Blues

Out January 21 on Total Treble Music

Laura Jane Grace has been through a lot in the past 4 years, and I am really looking forward to some new material from her and her bandmates. As a fan of some of their more well-known songs like "Stop!" and "Thrash Unreal" from their breakthrough album New Wave, I'm waiting for Against Me! to head back in that punkier direction as opposed to their last LP, 2010's White Crosses. Hopefully this album continues the trend.

St. VIncent-S/T

Out February 24 on Loma Vista/Republic

Annie Clark's last album Strange Mercy was a great step forward. With the first single from this upcoming self-title album, "Birth In Reverse" having a great danceable groove and coming off 2012's collaboration with Talking Heads frontman and renowned rock legend David Byrne (Love This Giant), I see big things for St. Vincent in 2014.

The War on Drugs- Lost in the Dream

Out March 18 on Secretly Canadian

The follow-up to 2011's Slave Ambient, Lost in the Dream aims to further the Philadelphia quartet's mix of indie rock and shoegaze. Adam Granduciel has spent the last two years working on this, so the results should be fairly interesting.

Speaking of The War on Drugs... (if you don't know about TheNeedleDrop, you really should). Hey Anthony. Sup?

And those are just a few of the albums that I'm hoping deliver early on in 2014.

What are some of your most anticipated albums of the year? Let me know.

Also let me know what you'd like me to review/discuss next.

Tune in next time, and remember: Behind every liner note is a great story waiting to be heard.

[behindthelinernotes]

So, where have I been exactly?

About to graduate college, for one. For another, wanting to pursue writing again.

Hey, this Tumblr thing isn't so bad. Look forward to seeing more reviews and music stuffs in the very near future!

[behindthelinernotes]

Behind The Liner Notes: Fly By Night Review

Fly By Night

Rush

Released: 1975 (Remastered versions released in 1997 and 2011)

Label: Mercury/Anthem (Canada)/Atlantic (Japan)

7.5/10

Rush. How else can I describe my favourite band of all time? They’ve been around for nearly 40 years, and their mix of virtuosity, prog storytelling and hard-rock grooves have influenced countless musicians and fans along the way. But this isn’t 2012 we’re talking about; today’s special is 1975’s Fly By Night. The most notable thing about Rush’s second studio album was the introduction of drummer, lyricist and all-around cool guy Neil Peart. He replaced former drummer John Rutsey, whose style was more blues rock (which you can definitely hear in Rush’s first album) but was dismissed for health reasons due to his suffering from diabetes. Needless to say, Peart made Rush who they are today. You can’t think of Rush without thinking of Geddy Lee, Alex Lifeson and Neil Peart. And they’re Canadian, so there’s something positive we can say we’ve contributed to the musical community. So let’s get into this, shall we?

Fly By Night takes the blues and southern rock sound of the first Rush album (the self-titled one) and expands upon it, adding a tighter sound and much tougher drumming from newcomer Peart. His fills are bone-crushing and resonate in your ears and mind for hours afterward, and no two beats are ever the same. Look no further that the very first track Anthem, Neil makes his presence right away with an opening drum roll that matches the syncopated riffage of Lifeson and Lee. The piece de resistance is By-Tor And The Snow Dog, one of the best tracks on the album and the seeds of the progressive style that Rush would be known for decades afterward. I mean, it’s 8:36 of grand storytelling, dramatic use of sound for atmospheric buildup and an awesome 7/4 breakdown with great drum fills and a riff to die for. While there are some tracks (Best I Can, Making Memories) that keep some of the groove from the first album intact, Beneath, Between & Behind and the title track are much more aggressive while still being quite catchy on their own merit. Geddy’s voice was still in its’ more primal form, so the vocals on this album are somewhat samey, save for By-Tor which rocks and Anthem which has a very odd wail at the end of the choruses. In The End is the closest to a ballad this album has, despite it’s nearly 7-minute duration, while Rivendell is prog-lite, the lyrics describe a fantasy world but it doesn’t quite stand in comparison to By-Tor and future compositions. 

As for Alex’s guitar, the solos are shimmering with intensity and the overall sound is at times thick and crunchy and at other times absolutely heavenly. Like with the drums, By-Tor is the best example of Lifeson at work. He really makes his guitar bark and howl like no one’s business and his solos in Fly By Night and Anthem are enjoyable while keeping with the main melody of the song. The riffs tend to follow the same pattern as the bassline in many cases.

Speaking of bass, Geddy Lee’s chops are remarkable. He and Neil form a very tight rhythm section, which helps make each song that much smoother. The beginning of the middle section of By-Tor shows off Geddy’s skills, and the warm tones in the title track help bring out the bass in the mix. Doing double-duty as bassist and lead singer means that both tend to be less than perfect, but the bass here is no slouch. 

Fly By Night is the very start to what we know as Rush today. There were some minor prog elements, but it wasn’t fully developed yet. However, what is here is a very solid collection of sonic goodness. If you want to witness the auditory evolution of one of the greatest and most hardworking bands of our time, then give it a spin. If not for the awesome cover of an owl about to take off in flight looking back at you, then simply for Neil Peart’s introduction to the world. And my, what history it made.

Be sure to come back next time as I delve into more of the music you need to hear! 

[behindthelinernotes]

Behind The Liner Notes: The Low End Theory Album Review

A Tribe Called Quest

The Low End Theory

Released September 24, 1991 (Jive/RCA)

10/10

I’ll admit, I’m not the greatest when it comes to hip-hop. I’m much more of a rock/jazz kind of guy, but I know a good album when I hear it. And this, my friend, is something all its’ own. When it comes to mixing jazz, forward-thinking hip-hop, catchy beats and repping the borough of Queens, few have done it better than Ali Shaheed Muhammad, Q-Tip and Phife Dawg (and Jarobi White who departed prior to this album’s release), better known as A Tribe Called Quest. And The Low End Theory could be described as the pinnacle of what they set out to accomplish, sonically and lyrically.

ATCQ’s debut album, People’s Instinctive Travels and the Paths of Rhythm gained a lot of critical praise and respect from the underground hip-hop community, with strong singles like “Bonita Applebum”, “Can I Kick It?” and “I Left My Wallet in El Segundo”. But any good musician knows the key is to always move forward. Sophomore jinx? What jinx, these guys thought.

The confidence, that no-nonsense swagger and brashness is all over this record. Phife turns a mic check on “Buggin’ Out” into some clever wordplay, as both he and Q-Tip’s flows on here are killer. 

Three songs on this record deal with the flip-side of being part of the mainstream celebrity culture, “Show Business” asks the listener if they perceive fame to be worth all the unnecessary distractions, “Rap Promoter” has a message for all the people who screwed over the band in the past. Oh, and “Check The Rhime”: “Industry rule number four thousand and eighty: Record company people are shady”. Remember that this got released on Jive Records, a label which would, by decade’s end, be known more for teen-pop than smart hip-hop. The things I miss about the 90s…

When you talk hip-hop, you need to know samples. Of course, many on the album come from various jazz pieces, but you’ll also find a good mix of rock in here too; Jimi Hendrix and Steve Miller Band among others. These guys have some good taste. Most songs on here have at least 3 samples or more. Listen and educate yourself.

What’s a hip-hop album without some collaborating? Singer-songwriter Vinia Mojica provides some vocals and jazz legend Ron Carter slaps the stand-up bass (“Verses From The Abstract”), Diamond D (of Crates Crew fame) and Brand Nubian members Lord Jamar and Sadat X show up to spit some rhymes (“Show Business) and many more that I’ll get to in just a bit.

Q-Tip is a guy that’s had his fair share of tribulations and triumphs, as outlined in “Everything Is Fair” a story about hustling with a funky hook from the Funkmaster himself, George Clinton. But he never comes off as insincere, “What?” is a great example of his flow bouncing off each and every line, leading into one heck of an album closer (and the last of the aforementioned collaborations here): “Scenario”. Let’s talk about that.

Scenario is one of the best tracks on the album, and for good reason. It’s catchy, hard-hitting, filled with clever beats, rhymes and solidifies A Tribe Called Quest and the Native Tongues Posse, as hip-hop’s best-kept secret. Featuring verses from friends Charlie Brown, Dinco D, and later superstar Busta Rhymes (who has the final verse and DESTROYS THE EARTH AND ALL THAT INHABIT IT) of Leaders of the New School, this was The Low End Theory’s big single and it shows.  Dance parties the world over now have a new firestarter.

If you’re someone who wants to try getting into hip-hop, this album is a great place to start. It’s made by people who have opinions about what goes on in the world, who also find just the right samples and beats to complement their prose. Major props go to Bob Power for mixing what he referred to as “the Sgt. Pepper’s of hip-hop”.

The Low End Theory is really a must-listen for any music fan. One listen, and you’ll be hooked.

I’ll leave you now with Phife’s subtle “plug” for the album from “Jazz (We’ve Got)”:

“So jet to the store, and buy the LP on Jive/RCA, cassettes and CD’s”.

THAT’S the scenario.

Be sure to come back next time as I delve into more of the music you need to hear! 

[behindthelinernotes]

Behind The Liner Notes: Throat Album Review

Little Women

Throat

Released April 13, 2010 (Aum Fidelity)

9/10

(Takes deep breath) If you value your eardrums, you will turn back. The audio contained on this album by Brooklyn-based quartet Little Women is not for the faint of heart. Unrelenting saxophones, jagged guitar riffs and off-kilter drumming make for one of the hardest-hitting free-jazz releases you’ll ever hear. Mixing elements of traditional jazz, math rock and tons of experimentation, Throat is messed up in the best way.

  Now when I think of jazz, I tend to associate it with saxophones, trumpets, some light piano and percussion played with brushes. That’s not how these guys operate. Tenor sax, alto sax, electric guitar and drums played with drumsticks.

  Throat I gives you a pretty good idea of what to expect from the band, as time signatures get squeezed and contorted and the song becomes a near-dirge as you struggle to keep up. As the album goes on, it becomes more melodic and starts to wander back towards the main stretch of road with Throat IV (also the longest piece on Throat, clocking in at over eleven minutes long). You think it’ll stay this calm…. Then the album punches you in the face on Throat V and runs back into the forest where it came from. As if reaching some kind of weird crescendo after Throat VI, then comes the album closer.

  Horror movie fans, you’re going to love Throat VII. Get this, it’s 2:10 of what appears to be people choking. That’s how Throat ends, with the scariest possible sounds this side of The Haxan Cloak’s Excavation album.

  So, that was a trip. Throat is creepy, beautiful, dissonant, haunting, distorted, in-your-face, and a whole bunch of other adjectives I’m sure you can replace one of those with. But above all, it is one of the most challenging but also one of the greatest albums I have EVER experienced. This is messed-up, and you should totally listen to it.

Be sure to come back next time as I delve into more of the music you need to hear! 

[behindthelinernotes]

All my want!!!!

So good...my sweet tooth is ready.