The Return of the Young Female One.

CD Reviews:

Beck – The Information:
I have always been an enormous Beck fan from an early start. Some of his albums have been hit or miss over the years, though all would at least receive a 2.5 or greater if scoring for the music group. Would he go the route of Sea Change, one his most different – yet most beautiful albums, or perhaps would he go the route of Sea Vultures and funk it up again? Early reviews compared it most to Odelay and I was very eager to finally pick it up. When I first bought it the day it came out, I was a bit disappointed. I loved the first single, but many of the other songs did not impress me as Odelay had. It was kind of tossed aside and The Killers album (released the same day as Beck) ended up reigning in my stereo.

I was glad to have it resurface for the music group. I listened to it a lot more this time around and grew to appreciate it a lot more than I had initially. Is it another Odelay? No. Some songs are great whilst others bored me. But Beck’s average score from me will not be affected by this album. It is neither a tremendous smash or tremendous trash. So it ends up middle of the road. Score: 2.5

The Decemberists – The Crane Wife:
A lot of diehard Decemberists’ fans had their doubts about this album seeing as it was their first major label release. I wish I had saved some of the debates I read on certain websites/blogs…they were downright comical. The reason they made me laugh, is that I could not possibly see how The Decemberists could possibly sell-out. Their sound isn’t mainstream, and the only way to do so would be to completely change their entire sound…which just wouldn’t be the Decemberists.

My only reservation about this album was that it could have been over-produced like many a major label likes to do. But, if anything, I feel their unique sound was enhanced in a spectacular way. It may not be as catchy as their last album, Picaresque, but it is quite extraordinary as is the majority of their material. The amazing storytelling is still here and if anything it has become better. I thought it would be impossible to top Picaresque, and at first I didn’t think it was possible, however with each listen it had slowly gained on Picaresque and has very slightly conquered it to be my favorite album of theirs. It may not still be as catchy, but it is just a better quality album from beginning to end. It will surely be on my Top Ten. Score: 5

Fear – The Record:
Nice in-your-face L.A. punk record. The vocals sounded like a mix between Jello Biafra and Cookie Monster, but there’s nothing wrong with that. Hilariously offensive lyrics and a great crunchy raw sound. “New York’s Alright if You Like Saxophones” was great, as was the opening political statement “Let’s Have a War” which is quite appropriate for recent times. I dug it. Nothing spectacular musically, but I like to have some in-your-face punk around at times.
Score: 2.5


Jason & the Scorchers – Lost & Found:
Why do I suddenly feel like I should have curlers in my hair, a baby in one arm, cigarette hanging out of my mouth, and frying spam while looking out my trailer window at my stained-wife-beater-wearing husband? When I first began listening to the disc, my immediate reaction was that there might be a decent rockabilly record here. Then as the album progressed, I realized I was wrong. It is horribly dated, and did not age well at all. I don’t care if the album is 20+ years old; the production of it was horrible. Even song wise – each track for me got progressively worse. Nothing impressed me about this CD except for the first few toe-tapping seconds of track one that misled me. Score: 0

Superdrag – Greatest Hits:
Wow! I remember “Sucked Out!” That was a great single and reminded me of high school (sorry to date you guys!). So I was anxious to hear what else Superdrag did, since I never got into them past that single. My expectations fell short though. I had hoped they would keep up the super-happy-pop sound throughout, but I found many of the tracks boring and being lumped into that sappy Gin Blossom-y sound, you know…the adult-contemporary of the 90’s rock movement. I might keep a track or two (I don’t have the disc in front of me for names), but that’s about it.


Topic
When I first began reading the question my first reaction was CELLO PLAYER! Until Mike stepped in and only allowed certain instruments. So, since I cannot pick cello player…I will pick my second favorite (and closest sounding) instrument…bass. I have always been a big fan of bass, but more importantly…everyone always reveres the guitarist or lead singer, but it takes a good ear to hear a great bass player. Maybe I am too much of an elitist, but I would want the crème de la crème as my devotees. Bass players like John Entwistle and Billy Sheehan were/are AMAZING, yet they weren’t in the forefront. It wasn’t an in-your-face style. They add depth and substance, not too overpowering, but those that appreciate the bass are astounded. Those that don’t will leave you alone.