The Mars Volta will flummox me every time I have to write up one of their albums. For those of you keeping track at home, this is #2 of 5 (maybe 6, depending on where in the alphabet their 2011 offering ends up falling). They seem to have no concept of what makes an album great. It's not taking every idea you can and putting it into a single album, or worse, a single song. What results is what plagues TMV - most of their long songs are meandering messes, with few exceptions. The albums get bloated and stop being fun after a while. This album isn't without its great moments - "Wax Simulacra", "Ouroborous" and "Agadez" are all great - but it also does not need to be 75 minutes long.
Beggar's Banquet by The Rolling Stones
Earlier today, Michael McKean tweeted, asking his followers to name the best album-opening tracks. In glancing through the responses, I did not see a single person mention "Sympathy for the Devil". Truly astounding, I'd say, as it is one of the greatest songs of all time, much less album-openers. (Not my favorite, but likely the "greatest"). The rest of Beggar's Banquet doesn't live up to that standard, but it's still an excellent album. "Jig-Saw Puzzle" and it's twangy guitar is just fantastic. "Street Fighting Man" is a classic. There is a reason this is considered the beginning of one of the most prolific runs in rock history, and it's because it's a great album.
Ben Folds might be the most frustrating man making music these days. He is capable of making some of the very very best pop music there is, but he doesn't often deliver. That said, Ben Folds Five, the first album by the curiously named North Carolina trio, is absolutely brilliant. In the last write-up, I mentioned great opening tracks, and I have to admit, I occasionally forget how astoundingly good "Jackson Cannery" is. Every song on here is otherworldly, the sort of brilliance that justifiably drew comparisons to early 70s Elton John. It will be rare that I do this, but some albums just warrant a sample song. Listen to the aforementioned "Jackson Cannery", then download this album.
Back in the A's, I covered what is probably my least favorite Radiohead album, Amnesiac. Here, I get the sweet satisfaction of covering what is at any given time one of my top two Radiohead albums. The Bends (along with OK Computer) represent, for me, the best blend of Radiohead's more eccentric tendencies and the traditional rock dynamic. It features some of Jonny Greenwood's best guitar riffs and licks, which seem to be less pronounced in recent years. From the simple yet effective chord progressions of "High and Dry" to the bombastic choruses of "My Iron Lung" and so on, I really love Jonny Greenwood's playing throughout. The Bends also features what is likely my favorite Radiohead song, one of the best album-closers ever - "Street Spirit (Fade Out)". On that song alone I could write another few paragraphs. But I won't. Get this album.
The Bens by The Bens
Just in case you didn't get enough Ben Folds already in this post, you get a touch more here, along with some Ben Kweller and Ben Lee, on this delightful EP that The Bens recorded while touring Australia together in 2003. It is a tremendously enjoyable little record, with great harmonies, shared lead vocals, Ben Folds playing drums in addition to various keyed instruments, along with the songwriting talents of all three gentlemen. In most other posts, this would be a highlighted album for sure, but this is a stacked group of ten. Do yourself a favor and pick this up.
Beyond by Dinosaur Jr.
As far as comeback albums go, this may be one of the best. Not that I can name many, mind you, but this is a great one. Released in 2007, it is the first album with the original Dinosaur Jr. lineup since Bug, which came out the year I was born. Growing up in Massachusetts, and eventually attending UMass-Amherst for a time, I had fairly consistent exposure to Dinosaur Jr, and grew to love their distinct combination of post-punk riffs, gorgeous, melodic solos, and volume. When I heard that the original trio was reuniting, I was cautiously excited. Then Beyond came out, and my excitement was validated. It kills from cover to cover, feeling both entirely new and yet oddly nostalgic. It made me realize that there is a certain dichotomy to Dinosaur Jr - their sound is both timeless and anchored in a specific time. It will always work, but will also always feel vaguely antique, and there's something comforting in that.
The Big Doe Rehab by Ghostface Killah
Nice album from Ghostface. Solid through and through, as one would expect from Tony Starks these days. It's a bit heavy on guest spots, which is a bit lamentable, and his lyrics are not as cutting as they often are, which is very lamentable. His delivery is still that classic bark, and the beats are good, so it's a good backgroundish hip-hop album, but if you want great recent Ghostface, there are no fewer than three other options that will serve you better than this.
Big Whiskey and the GrooGrux King by Dave Matthews Band
I'm not a huge DMB fan, but I have a healthy respect for the musical talents of all the members. Plus, on occasion, they turn out a great album or an excellent single. This album and its songs fall just short of either, but it's still a keeper. The thing that slows this album down is that it is inherently darker than their previous efforts. It's not unwarranted - celebrated saxophonist LeRoi Moore unfortunately passed away during the recording of the album, and the tone of the album certainly reflects that at times. The back half of the album (the part featuring next to nothing credited to Moore) feels a bit alien in comparison to both the first half and earlier recordings. Not bad, mind you. Just different.
The Bird of Music by Au Revoir Simone
This is a bit of a sophomore slump from Au Revoir Simone. The Brooklyn-based trio has put out two pretty good synth-laden dream pop albums, but this isn't quite one of them. There are definitely some great tracks on here - "Night Majestic" and "Stars" are among the more enjoyable pop songs I've heard in recent memory. Unfortunately, most of the rest of the album is a step or two behind that, and the songs often get muddled together, especially in the opening half of the album. If you can get through the first five or six songs, though, the second side will definitely reward you.
Bitches Brew by Miles DavisWriting about jazz is something I feel wholly unqualified to do. It's a genre I've only recently taken a liking to, after seeing Medeski Martin & Wood at Bonnaroo last June. Prior to that, I only really listened to MMW and Herbie Hancock's funkier works, because they were, to me, the most accessible due to their connections to the popular music of the 70s. It was only natural that I would eventually come around to Davis' rock-tinged works, most notably In a Silent Way and Bitches Brew. There is a certain aggressive nature to Davis' trumpet throughout Brew that I would later realize was atypical of his playing on prior recordings. It was this aggressive style that drew me in and made me a fan; the presence of the electric pianos and guitar only heightened my enjoyment. It truly is deserving of all the praise it gets, and does, in fact, belong in everyone's collection.
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