The Clash "London Calling" 25th anniversary edition Sony Legacy
Celebrating its 25th anniversary, The Clash's "London Calling" stands as one of the only records that is still considered to be a completely flawless piece of work. Fresh and remastered, the Sony Legacy Edition of "London Calling" is meant to showcase to new generations the power of this shapeshifting, genre-defying, rebel-rock classic. Included in this album that needs no further explanation are "The Vanilla Tapes," lost outtakes from the original recording session found in Mick Jones' storage house, a DVD chronicling the monumental making of the album and an extended essay on the origin of the band. "London Calling" is an album for ages and now, whether an enthusiast or simply someone interested in expanding their musical palette, is available in the format in which it was meant to be experienced.
Magnet "On Your Side" Filter Recordings
A troubadour with an elegant touch and a penchant for honestly gorgeous orchestral sound pieces, Norwegian export Even Johansen's Magnet, has, quite possibly, released the most beautiful pop album of 2004 thus far. Lush, sweeping love notes sealed with a kiss, "On Your Side" is a more-than-charming folk-tronic offering that relies heavily on complex instrumental craftsmanship, impassioned lyricism and highly competent vocals to create the most intoxicating listening experience.
Jeff Buckley "Grace" 10th anniversary edition Sony Legacy/Columbia Records
Though not an overwhelming success during the time of its original release date, Jeff Buckley's overly dynamic and beautifully conceived 1994 debut album, "Grace," has now become regarded as one of the most influential records of the '90s. For enthusiasts and new fans alike, Sony Legacy has remastered and re-released the late artist's landmark masterpiece with additional treats which include previously unreleased selections taken from the "Grace" sessions and "The Making of Grace" film, an expanded version of the documentary found on his "Live in Chicago" DVD. As timeless as the music itself, the legacy treatment of Jeff Buckley's finest hour showcases the voice, elegant musicianship and the sheer earnestness of his lucid songwriting - characteristics that many artists sadly do not possess these days.
Interpol "Antics" Matador Records
Successful follow-up records can be a frightful thing, especially if you're Interpol. What their second album, "Antics," achieves is more on par with a commendable, progressive offering rather than a record that is wholeheartedly attempting to overshadow its predecessor. It's a no-brainer that "Turn on the Bright Lights" is one of the great lo-fi masterpieces of recent memory and, in theory, "Antics" had a lot to live up to. Interpol successfully melds their gloomy past with a chiming pop-tinged sensibility to the majority of tracks on "Antics," which is texturally different and highly intriguing, to say the least.
Moving Units "Dangerous Dreams" Palm Pictures
The timing of "Dangerous Dreams" from the Los Angeles-based squad Moving Units is rather unfortunate considering the type of success other bands of this similar fabric have attained over the past couple of years. After releasing a stellar EP last year and riding a train fronted by other like-minded artists, Moving Units appears to have missed the wave that they could have easily been fronting. Fear not though. When it comes to the art of dance-punk, Moving Units use their brand of sex-dripping, Gang of Four-inspired, open hi-hat driven numbers to light tiny fires underneath the feet of anyone near a speaker pumping out this fantastic album.
Illogic "Celestial Clockwork" Weightless Recordings
Columbus, Ohio's Illogic is the emcee you wish you could be if writing abstract poetry laced with vivid surrealism was your aspiration. After years of Internet, backpacker buzz, Illogic has become more than visible with recent releases that has solidified his place in the independent hip-hop circuit as the gorgeous wordsmith whose rhyming capability can certainly "paint a thousand pictures." On "Celestial Clockwork," Illogic utilizes Blueprint's minimalist beats, the assistance of the infamous Jukies and even Slug of Atmosphere to tie together his vision of exploring the fringes of intelligent hip-hop and to illustrate that "change is the only constant" for emcees of his caliber.
TODD SNIDER Album: "East Nashville Skyline" Label: Ohboy Records Rating: 4 out of 5 stars
Juvenile violence, a failed suicide attempt and drug addiction are sensitive subjects most musicians avoid or limit to one track out of a 12-track disc. Todd Snider doesn't think that's necessary. In his fifth studio album, he covers those subjects and many more with a tongue-in-cheek humor that leaves the listener debating whether to laugh or cry.
Snider jumps genres as quickly as subjects, testing out '50s era rock in "Nashville," simplistic folk in the ironically depressing "Enjoy Yourself" and traditional 12-bar blues in a cover of "Good News Blues." No matter which genre he's testing out, he maintains a country twang as he delivers witty lyrical stories.
"Incarcerated," a fast-paced song clocking in at a little over two minutes, has Snider imitating Jerry Lee Lewis in vocal inflection while someone pounds a single piano chord in a panicked imitation of Lewis' famous playing style.
In "Tillamook County Jail," Snider tells a true tale of getting locked up for something he claims he didn't do, worrying his wife will refuse to bail him out. Though he sounds disheartened, the lyrics leave the impression that he finds the entire situation amusing.
A moment of serious reflection arises with a cover of Fred Eaglesmith's "Alcohol and Pills," an ode to all the musical geniuses who destroyed themselves with the two addictions after becoming famous. Snider's voice sounds both detached and melancholy as he goes through the list that includes Elvis, Janis Joplin and Jimi Hendrix.
Snider hits a climatic high with the manic "The Ballad of the Kingsmen," a rambling reality check about the contradictory messages kids receive about materialism and becoming successful. He talks more than sings, but the words have an adamant passion behind them that makes his message effective despite the moments of humor.
In an election year in which the country remains divided, Snider proves he stands on the far left in "Conservative, Christian, Right-Wing Republican, Straight, White, American Male." He shows his contempt for conservative politicians who are "leaders of mountains of shame/looking for someone to blame" while glorifying the tree-hugging, peace-loving hippies like him.
Whether he's annoyed with the moral majority or lamenting his bad luck in jail, Snider uses his humor to cover an array of difficult subjects, leaving behind a feeling of uneasiness with his vivid story-telling.
- Leslie Flynn
PAUL WESTERBERG Album: "Folker" Label: Vagrant Records Rating: 3 out of 5 stars
Paul Westerberg writes the kind of songs that communicate what he was born to do. Even in his salad days, when he was singing about hanging downtown and bugging the girl behind the counter on the Replacements' debut, there was a certain spark, a playfulness tempered with a bubbling talent for storytelling. With age, maturity and a shift to solo status, the balance of his work evolved from silly to serious, rollicking to relaxed, as the title of his new album might suggest. His overriding talent, however, continues to shine through.
"Lookin' Up in Heaven," four tracks in on "Folker," stands in the company of Westerberg's finest work. Strangely, it revisits a theme previously touched upon in early lyrics (later cut out) to the Replacements' "Can't Hardly Wait:" that heaven, despite its promise of paradise, would be incomplete without the song's subject. Over a sweetly strummed acoustic background, Westerberg's voice resonates with a quiet emotion that gives the track a haunting power.
One of "Folker's" further triumphs is "My Dad," which succeeds in chronicling the often complex relationship between father and child precisely because Westerberg offers a human portrayal of his father, with both flaws and endearing idiosyncrasies. It's saddening and a little hard to imagine when Westerberg reveals "he's never seen me play," but the singer doesn't dwell on their difficulties, instead affirming in the ending refrain "my dad I love."
The Replacements' appeal, in part, lay in their tightrope walk with nonsense and poignancy. Who else would follow up the propulsive glee of "Tommy Gets His Tonsils Out" with the gorgeous, incisive "Androgynous?" Paul Westerberg hasn't so much left his more raucous side behind as compartmentalized it in the form of his Grandpaboy alter ego. In truth, however, "Folker" would benefit from a little more bounce, as it's wont to drag in spots.
The track that really does swing, "Gun Shy," is irresistible. It's loose guitars with the trademark Westerberg attitude. "Chasin' middle age I'm pacing in my cage tonight," he croons. Don't ever stop, Paul.
- Elissa Zlatkovich
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