The Boss is Back

Bruce Springsteen hasn't released a studio album in five years, during which time it became en vogue in the independent rock realm to cop the Boss' sound. Mix in a glockenspiel-and-piano run here or a lyric about a tragic, working-class anti-hero there and you've got yourself a song. It seemed everybody from The Killers to the Hold Steady and Josh Ritter to Tom Morello have been drinking the E Street cool-aid over the past few years. That being the case, it's about time Bruce came out with some new material of his own (I don't count last year's Seeger Sessions as new material since it was a collection of old-timey folk tunes that are older than your mom...well maybe not your mom, she's pretty old). Also, with all of that in mind, I'll give the guy a break if his new single "Radio Nowhere" sounds a tad similar to Tommy Tutone's "Jenny," after all Bruce has just a little bit more cred than Tutone, so I'll give him the benefit of the doubt on this one. The new album Magic is slated to drop October 2. Check out the new single posted below.

Bruce Springsteen - Radio Nowhere [mp3]

New Josh Ritter

Josh Ritter has a new album titled The Historical Conquests of Josh Ritter, and while that's a bold moniker for an album which stands as a stepping stone for an artist still attempting to establish himself as a fixture in the music biz, from what I've heard, the material seems to live up to the lofty billing. Case and point, the collection's lead-off track, "To the Dogs or Whoever," just might be the most dynamic tune Ritter has penned. It's got a Dylanesque quality without sounding overly devotional. Oh yeah and it's catchy as hell too. Check it.

Josh Ritter - To the Dogs or Whoever [mp3]

M.I.A. and the Future of Music

I'd be lying if I acted like a hardcore M.I.A. fan, although I have no doubts that they're out there. I had never really heard too much of her music, although I had read about her pretty regularly, whether it be critics raving about her unique take on hip-hop or various entertainment writers reporting on her legal situation in the US as a result of an apparent speculated tie to foreign terrorists. Regardless, it was all very, very intriguing, and so when I read the review of her new album Kala in Rolling Stone and saw her tracks posted all over everyone's blogs, I had to see for myself what all the hype was about. Now that I have, I'd still be lying if I acted like I was a major fan, but after hearing just a handful of songs, I'll readily admit that there is certainly potential room for growth in that area. Like most of the reviews I've read have stated, the material on Kala doesn't really compare to anything else that comes immediately to mind, at least not directly. It's more like a mashing together of many different styles and influences, but don't be mistaken, she's no Gwen Stefani knock-off. And whether you like the music or not, I believe one thing is for sure: the music crosscuts so many conventions that it has to be important. It blurs the generic lines of pop, hip-hop, and rock, as well as gender and national boundaries (she's from Bangladesh) to become something bigger than itself. It may not be the most popular music in America right now, or even the world at large, but it just might be the most evident prototype for the future of popular music. And don't forget, you heard that hear first.

M.I.A. - Paper Planes [mp3]

M.I.A. - Hit That [mp3]

Modest Mouse Rock the Landing

So I finally got around to seeing Modest Mouse last night, after missing out on a sell-out show during their first go-round in Philly this summer, and then missing them again at the Virgin Festival earlier in the month because they were up against the Police in a scheduling set-up that even the NBA playoffs would be ashamed of. Nonetheless, karma was on my side as I was passed along a pair of free tickets to last nights show at Penn's Landing, and even though it rained the entire time, the band sounded utterly cohesive as I found myself grooving to songs the studio versions of which I was never really in love with in the first place. For instance, I had heard the album version of "Bukowski" so many times on my ipod that I'd at times come close to imagining myself pulling a John Belushi on Isaac Brock's banjo. However, last night, that song was definitely one of the highlights for me. As was "The View," "Dashboard," and "Black Cadillacs," among others, and although there seemed to be a noticeable contrast between much of the newer material and the more vintage M.M. songs in terms of energy and crowd connection, one can usually expect that when a band is still figuring out how to translate studio tunes into more organic, live exercises. That kind of thing often comes with time and repetition. Irregardless, the set they put on was very impressive, and they certainly didn't let down their fans who endured more that a little precipitation in order to get their musical fix for the evening. If you're a novice in the Modest Mouse camp, I've posted a couple of my favorite cuts just for the hell of it. Cheers.

Modest Mouse - Paper Thin Walls [mp3]

Modest Mouse - The View [mp3]

Dylan Remixed

Everybody knows Mark Ronson is on fire. He's produced two of the year's hottest albums in Lily Allen's Alright, Still and Amy Winehouse's Back to Black. He even released a very well-regarded LP under his own moniker called Version with vocal assistance from some of the hottest names in the music biz. You know when a DJ/producer releases his own album and it takes off, he's managed to catch lightning in a bottle. Now Columbia Records has asked him to create what is apparently the first official Bob Dylan remix. Why not ask him to repaint the Mona Lisa while he's at it? After combing through the hundreds of songs in Dylan's more than ample catalogue, Ronson arrived at "Most Likely You'll Go Your Way (And I'll Go Mine)," a track from 1966's Blonde on Blonde, which is just about the best album ever. The results are acceptable, though not overwhelming. Ronson's affinity for beefed-up horns is evident in his engineering, and it works to a degree, but gone is the core of what Dylan referred to as his "thin, wild mercury sound" that carries in the original. I'd give it a B- for the effort. Nice try Mark, but don't quit your day-job, and by "day-job" I mean making beats for Brit-pop stars and laying down tracks for Ghostface Killah. Stay away from the classics, because chances are you won't improve them. Just ask Madonna and her ill-conceived take on Don McLean's "American Pie," or ask Limp Bizkit and their half-baked cover of the Who's "Behind Blue Eyes." If you can find them, that is.

Bob Dylan - Most Likely You'll Go Your Way (And I'll Go Mine) (Mark Ronson Remix) [mp3]

K-OS and a Confusion on Entourage

I've been hearing a lot of buzz about Sunday night's new episode of Entourage. However, oddly enough, most of that buzz seems to be more inquisitive than anything. To be more specific, I've heard a lot of people asking the same question, and that question is, "who is Anna Faris?" Faris made a rather prominently featured cameo in the episode, playing herself, which apparently left most people confused as to what kind of acting cred she really has if the majority of America hasn't ever heard her name before Sunday. The whole situation probably has her IMDB page getting more hits this week than the premiere of all of the Scary Movie films combined (not that those movies aren't each cinematic treasures unto themselves). Anyway, the point is, I actually do know who Anna Faris is. She had major roles in the previously mentioned Scary Movie franchise, and had bit parts in many other projects, the most respectable of which is probably the Bill Murray-Scarlet Johannsen vehicle Lost in Translation, where she played a character strikingly similar to one she played in the Ryan Reynolds comedy Just Friends. So maybe she actually could benefit E's help with her real life career, or maybe just a few more acting lessons.

Either way, after watching the episode, since I already knew all of these things, I had a different question on my mind, and it was more concerned with the song that played over the end credits. It sounded like a strange hybrid of different influences and styles. The verses sounded a lot like Dylan's "Subterranean Homesick Blues," but the production and the chant-like chorus had a much different feel all together. After some research I was surprised to find out the song was performed by eclectic, Toronto-via-Trinidad MC K-OS (pronounced "Chaos"). I had heard some of his material in the past and none of it sounded like this song which is titled "Valhalla," and is posted below. It's definitely strange all over, but something about it makes me want to keep listening over and over. Weird. But I guess not as weird as Anna Faris playing herself as a recognizable actress...

K-OS - Valhalla [mp3]

Country Rouse, City Rouse

Josh Rouse has a new album called Country Mouse, City House, which supposedly he recorded in his home studio in Spain in a mere matter of days. I would call that a rather ambitious undertaking for most artists, and although I'd be hesitant to say it's on par with some of Rouse's previous efforts, as usual, his tremendous sense of songcraft keeps him afloat. CMCH finds him doing what he does best, musing over laid-back, catchy arrangements with sing-along choruses, and while his material rarely overwhelms in terms of sheer weight, there is no doubt that this guy flat-out bleeds infectious pop tunes. I can say with complete confidence he's one of the most underrated songwriters of his generation. Check out the mp3's below for proof (courtesy of Carl Sandberg Visits Me in a Dream and LiveJournal).

Josh Rouse - Sweetie [mp3]

Josh Rouse - Nice to Fit In [mp3]

The Upside of John From Cincinnati

As my interest in HBO's new series John From Cincinnati began to wane, after the first few episodes or so, I realized that, despite my tepid feelings for the show itself, there was one definite bright spot. No, I'm not talking about the reemergence of Luke Perry's acting career (although he might beg to differ on that). I'm talking about the theme song, "Johnny Appleseed" by Joe Strummer and the Mescaleros, which I had never heard prior to seeing John From Cincinnati. And while I'll admit the show hasn't turned out to be my cup of tea (not enough, if any, likeable characters, strange, sci-fi-ish plot twists that seem to lead nowhere in particular, etc.), they had a decent enough shot at hooking me based on theme song alone. Basically, this is just another reminder why Joe Strummer is one of the great rock frontmen of all time, and why, for such a long time, the Clash really were the only band that mattered.

Joe Strummer & the Mescaleros - Johnny Appleseed [mp3]

(courtesy of My Old Kentucky Blog)

Jason Isbell, a Trucker No More

A co-worker recently made me aware of Jason Isbell's new album Sirens of the Ditch, and after hearing him perform on The World Cafe this afternoon, I decided I had to put together a post about the guy. Now I won't pretend to know a ton about the Drive-by Truckers, a band of which Isbell was a former instrumental member: for me, they were always neo-Skynyrd to My Morning Jacket's neo-Allman Bros, and having always been a Allman man, my tastes naturally skewed more towards MMJ. However, I have heard a fair amount of Drive-by Trucker tunes, and have even seen them perform live (with Robert Randolph supplying peddle-steel guitar assistance, no less) and they sounded great. However, judging from what I've heard of Isbell's new album, that band has been dealt a major blow by losing a tremendous songwriter. To me, he sounds like a sweeter, saner Ryan Adams. Check out the tunes below, courtesy ickmusic.

Jason Isbell - Chicago Promenade [mp3]

Jason Isbell - Dress Blues [mp3]

Virgin Festival

As I had previously mentioned, I spent my weekend in the beautiful state of Maryland. Actually Baltimore, to be specific, a city famous for its crabs (and various other STD's), but that's not why I was there. I was there for the second annual Virgin Festival at Pimlico Race Course, or as I like to call it, "Bonnaroo-Lite." Having missed actual the actual Bonnaroo this summer, I was able to get my sweaty-dirty-music-experience fix by going to other, smaller fests, and this one was about as close as I got to the real thing. It was two days of heat, booze, and cattle-like crowds, featuring staggeringly overpriced burritos and people in body paint, and of course, an abundance of varying musical acts, highlighted by the Police, the Beastie Boys, Wu Tang Clan, a crack-ish looking Amy Winehouse, and a quirky, upbeat Regina Spektor. As is the case with many a-festival, scheduling conflicts naturally arose among competing artist sets, so I didn't see everybody I had hoped. I missed the Smashing Pumpkins, Interpol, Matisyahu, and Modest Mouse, but sacrifices always have to be made, and hopefully I'll get the chance to see those bands again in the near future. As for right now, I'm not losing any sleep over it. In fact, as a direct result of my two days out of town, where I placed more emphasis on rocking out and drinking Miller High Life than catching up on Z's, I'd say sleep is going to be the one thing I do most during the ever-important recovery period this week. But in the meantime, feel free to scope some of my pics from the weekend below. Some of them came out nicely and some of them are just ok (click on the pictures to view enlarged versions).

TV On The Radio

Regina Spektor

Wu Tang Clan

Cheap Trick

Amy Winehouse

Ben Harper

The Police

Beastie Boys

Peter, Bjorn and John

Spoon

Weekend at Pimlico

I'll be out of town this weekend at the second annual Virgin Festival at Pimlico Race Course in Maryland. If you haven't seen the artist line-up, it's pretty solid. The point is, I won't be posting this weekend, but will present my reaction to the festival next week. Until then, be easy y'all...

Fionn Regan (Pronounced like "Finn Raygin")

I caught most of Fionn Regan's (pronounced phonetically like "Finn Raygin," or so is my understanding) set at the Xponential Music Festival a couple of weeks ago, but at the time, I didn't think much of it. His music, which I'd describe as smart, subtle Irish folk-pop, in my opinion doesn't lend itself greatly to the summer outdoor music festival scene. It's a bit too slight and quietly contemplative to be fully enjoyed in that type of scenario. However, I've found that in the studio, as on his new album The End of History, Regan's tunes are far more palatable. Check out "Put a Penny in the Slot," a catchy, acoustic number that recalls a young Donovan. Although, on some of his moodier material, particularly the single "Be Good or Be Gone," he reminds me a lot of Damien Rice, that is, when Rice is keeping things simple and not trying to outsmart himself. Anyhow, Regan was recently nominated for the UK's Mercury Award, which doesn't mean jack to most folks on our side of the pond, but over there, it's kind of a big deal. Check out the mp3's posted below, including Regan's cover of one of my personal favorite Beatles tunes, recorded live on BBC radio.

Fionn Regan - Put a Penny in the Slot [mp3] (Courtesy of FPSA)

Fionn Regan - Getting Better [mp3]