August Host Post

The Duke Spirit – This one is really well done once the horrid 40 seconds that open the disc are past. The vocalist alternately sounds like Bjork and 60’s-era Grace Slick, which somehow works. Band has great chops throughout, and the tastefully placed horns are an excellent touch. The songs are varied enough to hold my interest, and well written. I also appreciated the clean sound. 3.5 stars

The Hold Steady – If “Boys and Girls in America” was their “Born to Run”, then this is their “Darkness on the Edge of Town”. The hangover from the “chill-out tents” and “party pits” of the last disc are full-blown. Sutures and bruises, date rape accusations, college girls “getting nailed against dumpsters behind townie bars” and at least two deaths show up in the songs. Musically, the tracks are also a little rougher around the edges, notably the guitar work, yet still built around that classic E-Street sound. “Sequestered in Memphis” is the song of the year. An exceptional disc that shows significant growth from a band that keeps getting better. 4.5 stars

Neil Diamond – Take a good look at the cover of this disc. (Ken, please insert visual aid here) Now, if Neil wants to pantomime a little self-gratification in front of 15,000 people, more power to him. Not my cup of tea mind you, but different strokes (pun absolutely intended) for different folks, right? What I have a problem with here is a lack of truth in advertising. Let’s face it, there is no way in hell “little Neil” is that big. Remember, Diamond is Jewish, so he’s minus a couple to start with. While product misrepresentation vis-à-vis the size of Neil’s kielbasa is a valid charge, there’s no disputing that the cover sums up the performance rendered on the disc(s) perfectly. “Hot August Nights” is a grossly exaggerated self-love fest.

There is no denying that Mr. Diamond has written some great songs (“Crackling’ Rose, “Solitary Man”, etc). The inherent problem with this disc is that he insists on singing them. Diamond’s over-the-top drama king vocals are delivered with either a fake sincerity or such an incredible delusion of grandeur (I can’t decide which) that it borders on parody. Worse, the arrangements are so schmaltzy, Vegas-nightclub ridden that it renders even the good songs unlistenable. Truly awful from start to finish. .5 stars

Whiskeytown – “Strangers Almanac” defines alternative country, and is the best album in the genre that was not made by Uncle Tupelo. The lyrics have the raw emotion of the best country music, and there are intermittent bursts of twangy guitar that rock like “Exile”-era Stones. Ryan Adams’ playing, songwriting and vocals are stunning. “Excuse Me While I Break My Own Heart Tonight” remains his best work. 4.5 stars

Slobberbone – The most tragically underrated band ever. Brent Best has an uncanny ability to mesh dark observations on the human condition with ridiculously catchy melodies and great guitar work. “I Can Tell Your Love is Waning” is one of the greatest murder songs ever, and “Gimmie Back My Dog” gets at least an honorable mention in the best breakup song category. Lots of drinkin’, killin’ & twangin’ throughout & a Bee-Gees cover to boot. A damn fine compilation if I do say so myself.

Question

In no particular order…

Randy Newman – Most versatile lyricist there is. His songs are stinging in their irony and unabashedly sentimental, and he leaves the listener to decide ones which are which. A smart-ass after my own heart.

Warren Zevon – Equally versatile. Mixes Hunter Thomson-esque tales with wry, romantic material.

Paul Westerberg – The world’s most cynical romantic or most romantic cynic. Either way, a great one.

Mike Cooley (Drive By Truckers) – The white trash poet laureate. Brilliant character studies and stories of the South.

Pete Townshend – His work speaks for itself, though lyrically, I prefer his solo material to The Who