Album Review: T. Lee (of Babybrutha) - Babybrutha Knows

T.Lee-Bass,Guitar, Keys,Vocals,Drum loops
Danya Thompson-Drums
Keith King-Drums
Sav Izzi-Guitar
Mecca Modai-Vocals
Natalie Rose-Vocals
Vaan Lotus-Vocals

10 songs of Chicago inspired funk music.  Tim Lee (known as T Lee) is a Chicago born multi-instrumentalist who writes songs about real shit.  Tim first heard Howlin' Wolf at age 6 and was scared, but got over it after being exposed to the music of his siblings, and by the age of 12 got his first real guitar. 

Upon listening to the album you can't help but pick up on the influences.  It's not vintage, old school or slow jams.  It's an explosion of genres and influences.  Influences such as P-Funk, James Brown, Prince or Sly Stone.  Me personally?  I pick up some Lenny Kravitz on the album.

I mentioned that all the inspiration for the songs on the album come from real life.  We all know real life is full or ups and downs.  This album deals with both the highs and lows.  The roller coaster of life is alive and well on this album.  Tim has used his life time is Chicago to write some solid tunes, and throws in funk so it might feel like a happy song about topic hard to talk about, and that's what this album so good. 

"Wanted Man" is a stand out track on this album.  A song about how fast things can change for the good or bad at a blink of eye.  Live for the moment, don't worry about the future holds.  "You Good For Me" is a Rick James' inspired song about love.  As close to a love song without calling it a love song.  "I Wanna Get Up" is a slow burner, and probably the most personal song on the album.  Inspired by George Harrison and Tim's father's battle with cancer that he eventually lost.  Changing gears to "Walk Of Shame" summer is short in Chicago, people tend to let their freak flags fly (so I've been told).  The album closes with "Misguided Love" a fun song again about something real.  Probably not fun for the person going through it at the time, but good song writing material.

These guys kill it live!  Transferring their energy from the record to the stage.  They play pretty frequently, and have opened for the likes of Erykah Badu and Nina Sky.  Go check these guys out.  T Lee throws in some solo gigs too, so if you get a chance....  They "just want to make music and hopefully get a few people to bob their heads to it"

Now.....  GO WIGGLE!

-Mike Downing

ALBUM REVIEW - The 7th Sons - Hard Tails

 

Jerry Eady:  Guitar/Vocals

Steve Kost:  Drums

Mark Groble:  Bass

 

I've been listening to the 7th Sons since they were a 2 piece playing Black Keys and White Stripes covers, also conquering classics by the Doors, and other unexpected tunes.  The addition of a bass player has added a completely different element to their sound.  They describe themselves as "classic rock to punk, hard rock to rock n blues...  pulled out of array of freestyle jams".  These guys are NOT your typical "jam band" but there's influences (and all but 1 tune is over 5 minutes long).  

 

Their first album of original music came as a little surprise to me.  A little harder edge than I would have expected.  That being said full of Seventh Sons attitude, balls and clearly hard work. The songs on the album are all well written, and put together.  I mentioned the length but these guys know what they're doing and have the chops to have 6, 8 or 9 minute songs.  The opening track "Soul Soup" has a great beat, then the lyrics starts and the song transforms to another place!  That's the magic of the Seventh Sons.  They're a little like the old saying "if you don't like what you hear wait 5 minutes".  Sometimes the beginning won't sound like the middle or the end.

 

Another stand out track is oddly the shortest song on the album "Mind the Gap".  Brings feelings of sunshine, beers, and girls!  A good old rock n roll song.  Doesn't sound like the rest of the album.  It's a nice little pick me up.  This sound might be something the band could explore in the future.  One more standout was "Right a Wrong".  A song about all the bullshit life has to offer and sometimes you have right the wrong to handle it.  Another well written tune.  The rest of the album is a journey through their eyes.  The songs are about real shit, that can happen, will happen or has happened to anybody.  At the same time they jam, make you want to dance, and forget your troubles.  Good time music indeed.  "Fragments" is slow burner at over 8 minutes about picking up the pieces, yet I still find myself bobbing my head, and rockin' along.  Again, who hasn't been there?  This is music you can relate to.

 

I'm looking forward to see how the songs play out live.  Now that the album is out it's time to tour. 

 

The album closes with a live cover of my favorite Doors song Peace Frog.  These guys again nail it, yet add their own "Sons magic" and make the song their own.  I'd be the first to say it if they butchered this song.  They don't.  Trust me.

 

These guys are friends of mine.  Hard working family guys.  Talented songwriters and musicians.  I'm honored to have reviewed their album on our little blog.  It's awesome that we all have our forums to bring music to the masses.  Now, if you're EVER in the Chicago area and they're playing go see them.  And buy their record!

 

-Mike Downing

 

 



You Should Be Listening To The Lone Bellow

To say that the blog has been lacking would be an understatement! We apologize as we've all had a lot going and the blog fell by the wayside unfortunately. Having said that, let's get things going again:

Over the past year, a ton of new music has been released as usual. Every year I look forward to releases from old favorites but one of my favorite things is getting turned on to a new artist. For me, the standout in the later category has been when a friend introduced me to The Lone Bellow. Their self titled debut album is really something special but it's not until you see them live that you really get a handle on their talent. On the subject of the album itself, there are several stand out tracks such as "You Can Be All Kinds Of Emotional", "You Never Need Nobody" and my personal favorite "Teach Me To Know". This is one of those rare records where you can hear the song writers connection to the lyrics immediately and each of the above tracks are great examples of that. 

Upon first look and listen, you may find The Lone Bellow to be cut from exactly the same cloth as The Lumineers or Mumford & Sons. I felt the same way until I was able to see them live in concert earlier this year. The emotion conveyed on their debut LP is pale in comparison to that which they bring to a live setting. You can see all three members mean what they wrote and more importantly, you can hear it. After the first of two shows I witnessed this year, I likened their performance to that of what a Simon & Garfunkel show must have been like in the late '60s. Many examples can be found around the internet but I believe this is one of the best:

In a regular live setting the band is joined by drummer and bass player but if I'm being honest, those components are not necessary. In some cases the added musicians actually detract some from the overall feeling of the songs. Having said that, the live experience is still the best way to experience this music based on the passion displayed by the three principle members. 

The comparison to the aforementioned acts is inevitable but I sincerely hope The Lone Bellow get a chance to stand on their own. They are touring the US again this fall and I highly recommend that everyone attend a show if possible. With ticket prices around and well under the $20 mark, it's really and experience that's well worth your entertainment dollar. Here is the schedule for the rest of the year according to pollstar.com:

Like The Lone Bellow? Don't like The Lone Bellow? Other questions, comments or concerns? Log in and leave a comment!

ALBUM REVIEW - Tennis - Young and Old

Young And Old
Tennis
14 February, 2012
Rock/Pop/New Oldies

Is it better to have unlimited potential with huge buzz or an established career with a steady following?  That is the question facing Tennis with the release of their sophomore effort, Young And Old. The internet sensations rode the wave of adulation from their unexpected and unintentional debut, Cape Dory; a 30-minute  wistfully nautical diary entry originally intended for themselves and close friends.  Creating a worthy follow-up to any halfway decent debut album is a tricky proposition.  But theirs is a tougher row to hoe considering the effortless creation of their first album.  It's like you pick up a basketball on a whim and free throws.  You make both of them, and someone comes along and says, "Hey, you're pretty good.  I'll give you $50,000 if you make your next 20 in a row."  How do you recreate the feel of a process you were never aware of?
     Some things are very clear up on first album.  It is apparent that Tennis has a fondness for early motown female acts and production.  Sonically they are deceptively complex for such a clean clear sound.  Playful and light, the album moves along at a constant mid-tempo. Alaina Moore's vocals are reminiscent of that doo-wop, beach-pop sound as well, delicately accompanying the instrumentation in a delightful tango.  She exhibits the ability to dominate a track at times, but wisely just goes along for the ride.
     The inconsistency comes in the tone the songs carry due to the lyrics.  Everything comes packaged in that breezy summertime swing, whether it matches lyrically out not. I sense there might be a lack of confidence in branching out musically.  Their first album had the central theme of sharing a personal experience.  Cape Dory was the soundtrack to what sounded like a wonderful vacation.  Young And Old doesn't seen to have the same purpose or cohesion.  It's a if they are wondering what to do next and are trying things out to discover what works, who they are, and what direction they should go in.
     That being said, I want to follow them on that journey, because there is some really good stuff here.  I wish everyone could sound this good while searching for themselves.  It All feels The Same starts the album with some attitude and, not so secretly, I think this is where their strength lies.  Their best songs are not the ballads or laments; it's the anger, the hurt, and the driven that shines through. Take Me To Heaven is an exquisite song and well worthy of a rare 100 song rating.  I guess the story of the album is in the highs (100, 98, 97) and lows (76, 76, 78) that coexist on the same pressing.

     1) It All Feels The Same (98)
     2) Origins (84)
     3) My Better Self (76)
     4) Traveling (83)
     5) Petition (97)
     6) Robin (78)
     7) High Road (76)
     8) Dreaming (81)
     9) Take Me To Heaven (100)
     10) Never To Part (79)
     11) Deep In The Woods (82)
     12) Vegas (79)
YOUNG AND OLD CAS = 84.42

Lollapalooza 2012

Over the past several years I pondered the thought of going to Lollapalooza.  I've attended my share of concerts of all shapes and sizes, but never a multi-day festival.  I've been to Lollapalooza a few times in the past when it was a one day traveling event.  I had heard the stories about the legendary experience of the now 3-day Grant Park festival.  So, I finally bought a 3-day pass, and booked a hotel (the only way to attend), and off I went.

The weather stole the show at times.  Friday was hot, sticky, and sun filled!  Staying hydrated was a must, and word must have got out.  Water refill station lines were longer than the beer lines until after 7pm.  Satuday history was made when they evacuated the park prior to what was a pretty significant storm (good call Lolla team, safety first!).  Sunday's weather was PERFECT!  A beer drinking day if there every was one!

I would say that proper planning insures that you get to see everybody you want to.  However, there were some scheduling conflicts Friday but I went with the legendary Black Sabbath.  The big stages are at both ends of the park in largest fields, and another stage is 45 degress around the field, and music alternates.  So as you're waiting for somebody you really want to see you can still see bands.  On the north end the alternate stage is the only stage on blacktop, so that got pretty damn hot if you're watching a band there.  The set-up is great, but it's about a 10-20 walk  (depending on route and crowds) from one major stage to the other.  The other 4 stages are tucked in other side areas of the park, and there is some sound bleed, but nothing too bad.  The schedule and times are posted way weeks ahead of time so you can plan your experience.  You also want to have time for discovery of new bands.  You can also catch 15 minutes here and there before traveling to the next stage.  This was my first time here, I pretty much flew solo all weekend.  I met some friends by the fountain so we can check out some bands together, then I was off again.  I think this strategy works in this enviornment so you can see who you want, when you want, beers and bathroom breaks aren't an issue, and go at your own pace.

I thought I would go in on the upper end of the age demographic.  However I was wrong.  Lollapalooza is really for EVERYBODY.  Kids, parents, grandparents...  etc.  The Kidzapalooza area of the fest went until 5pm, featured some really cool family oriented music, and kids were free to attend the festival.  Sure there were a number of shirtless douch-bags, there were also the frat boys, goth kids, metal dads, hipsters, and hot chicks.  With 100,000 people a day, everybody got along.  I didn't see any fights, arguments, or injuries.  I think the most of the trouble came Saturday with the evacation and closure of the festival for a few hours.  Other than that seemed pretty peaceful.

I saw 22 bands in the 3 days.  I didn't come back Saturday after it reopened.  I walked back to hotel before the storm it, and nursed a toe injury so I can be ready Sunday.  Sunday was the best day in my book...  weather was perfect, most of the bands I wanted to see played that day, and Jack White sent us home for 2012:

Friday:
Animal Kingdom, O'Rappa, Michael Kiwanuka, Dr. Dog, Tame Impala, Metric, Die Antwoord, Passion Pit, and Black FUCKING Sabbath!

Saturday:
Kopecky Family Band, Los Jaivas, JEFF the Brotherhood, and Quinn Sullivan (very tale end)
Saturday's storm knocked about 4 hours off the schedule.  So when it got going again it mostly just the headliners.

Sunday:
Verve Pipe on Kidzapalooza Stage, Quinn Sullivan, The Devil Makes Three, White Rabbits, Gary Clark Jr., Gaslight Anthem, Florence and The Machine, Miike Snow, and Jack White.

Sabbath was highlight.  I know there was no Bill Ward, but his replacement hit the skins so hard he made the band sound better.  Ozzy was well Ozzy.  Tony and Geezer were flawless!

Quinn Sullivan is a 13 year old blues player.  He was fantastic.  Good kid, bought his CD and he signed it for me.  Hope he's around for a while.  Buddy Guy mentors him from time to time.

Florence held the crowd in her hands.  I haven't felt that kind of energy since Stevie Nicks in her prime.  Too bad it was still daylight. 

I'm already gearing up for next year.  Do you hear me QOTSA, Willie Nelson, and Alice in Chains?

-MD

ALBUM REVIEW - Silversun Pickups - Neck Of The Woods

In gymnastics, it's not enough to attempt the most difficult routine on the uneven bars, Your execution must be impeccable, or the effort and risk is all for nothing.  With NECK OF THE WOODS, Silversun Pickups dazzle the listener with sonic flips and twists, and display large scale sweeps of power and grace.  They wobble a bit on the landing, but strut off the mat with two middle fingers thrust firmly in the air.

     This is the SP's 3rd full length album, and each album  gets progressively bigger in scale and scope as the band gets more comfortable with who they are and what the strive to be.  In interviews, frontman Brian Aubert says this album was inspired by horror movies.  The influence is palpable; it isn't hard to imagine each song pulsing in the background of your favorite slasher flicks.  However, this album is not a list of filler music. The tracks are character-driven, exhibiting a deeper range and depth of emotions than most 90 minute screenplays. I have much appreciation for NECK, as the SP's seem intent on focusing attention to the artistry and totality pf each song.  The shortest song, THE PIT, clocks in at 4:39; these are no radio friendly unit shifters.  Despite the extended song lengths, only one song drags to the finish line; the 5:37 GUN SHY SUNSHINE, which aappears to be the Pickups' attempt to incorporate a little electronica into their sound via the sticcato synth strikes of a lurking killer.

     The rest of the album's songs are full bodied. These songs are long because they have to be. Each is the full expression of thought and emotion through musical execution. Nothing is truncated. This just might be a challenge to the value meal pop-rock that seems to populate the airwaves today.

     *Sidenote: I know, the SP's sound very similar to another SP band, the Smashing Pumpkins.  Most people that have heard both groups undoubtedly will make the comparison, despite Aubert's assertion that their major sonic influence is My Bloody Valentine. Their body of work is similar to the Pumpkins through 3 albums as well, the difference being Billy Corgan's ambition, ego, and arrogance with MELLON COLLIE AND THE INFINITE SADNESS.  I enjoy the Pickups because of this difference, and inspite of this difference.

Silversun Pickups
Neck Of The Woods
8 May, 2012
Rock/Alt Rock

1. Skin Graph (89)
2. Make Believe (86)
3. Bloody Mary (97)
4. Busy Bees (81)
5. Here We Are (88)
6. Mean Spirits (95)
7. Simmer (94)
8. The Pit (92)
9. Dots And Dashes (90)
10. Gun Shy Sunshine (78)
11. Out Of Breath (94)

     NECK OF THE WOODS CAS =  89.45

My Method of Reviewing Albums

     I am not into buying singles.  Don't get me wrong, I will by a single here and there to satiate my urge to purge whatever song is stuck in my head (curse you, Madcon, for your terrible cover of Beggin'!).  I love albums, mostly because it isn't instant gratification.  Albums are fully conceptualized, cohesive thoughts on display for world consumption.  Albums define One-Hit Wonders. The difference between The Smashing Pumpkins and Candlebox are the albums.  So I take my album purchases seriously. 
     So, because I'm a big-mouthed knowitall, I feel it's my God-given right to share with the world my opinions on the albums I buy.  I'm hoping that these ratings spur some debate on good music.  Maybe my reviews and ratings will introduce some of you to new artists that might have never caught your attention.  I love sharing the music I love with people that love music.
     It would be helpful for you to understand my rating system.  When reviewing an album, I rate each song on a scale from 1 to 100, then I average the scores to come up with the CAS (Composite Album Score).  It's as simple as that.  Yet, its simplicity belies its complexity.  When I first started using this system, I found that some LPs that I thought were greats, or even classics, really had only three or four great songs surrounded by average efforts.  See, to me, the definition of a great ALBUM is one that you can start playing at the first song and never have the urge to skip a song through the album's conclusion.  I'm sure that if you went through your personal catalog of music, you would be shocked to know how few truly great albums you possess.
     Here is how I break down the CAS numbers:

• 96-100 = A Marvin All-Time Classic
• 91-95 = I love this album and will annoy my friends with how highly I think of it
• 86-90 = I am very happy I bought this album
• 81-85 = I'm still happy I bought this album, but I thought it would be better than this
• 76-80 = I must have been drunk on the singles... I should have bought something different
• 71-75 = I must have been drunk. Period.
• 00-70 = An investigation must be launched into who stole my credit card and bought this shit on Amazon.

     My wife read up to this point and, in so many words, asked, "Why is 70 such a crappy score in your world?" I thought about it, and understood it is a fantastic question. 70 is a craptastic score because in order for me to have bought the album in question, I most likely have already listened to some of it, and liked it. So it is a colossal disappointment to buy an album and it rate out to a C-.  And who sets out to create a C- album?  I mean, other than this current generation of rappers, who decides that they're going to spend three to nine months working on an album and, after listening to it, say to themselves, "...eh... it's adequate. Put my name on it and print it!"  That is why 70 sucks.
     I believe an example is in order.  But, I will do you one better; I will give you an example that is also the benchmark for all albums.  To me, the greatest album of all time is... Michael Jackson's Thriller.  As far as an end-to-end burner, to me it gets no better.  My rating system treats Thriller like this:

1. Wanna Be Startin' Somethin' (100)
2. Baby Be Mine (98)
3. The Girl Is Mine (95)
4. Thriller (100)
5. Beat It (100)
6. Billie Jean (100)
7. Human Nature (100)
8. P.Y.T. (100)
9. The Lady In My Life (100)

      THRILLER CAS =  99.22

     Let me tell you, with the greatest of scrutinizing, I challenge you to find another album with 7 songs you can honestly mark as 100's on a scale of 1 to 100.
     Before I go, let me leave you with a few things to keep in mind when reading my ratings;

• Most albums I review will have a CAS in the 80-90 range, seeing as I preview albums before I purchase them.
• If you request me to review an album, I will try my best to oblige. But please remember I have 6 kids and a full time job.
• If an album has skits as stand-alone tracks on the album, the skit will be combined with the track it belongs to, and the two tracks will be scored as one.
• Sometimes it will be necessary to score two song tracks as one, depending on the way the artist intends the album to be heard.
• After reviewing over 30 albums so far, I have come to learn and appreciate the difference between a CAS of 90 and 93.  The difference is A LOT LARGER THAN 3 POINTS!
• It is very hard to achieve a song score below a 70.  The fact that an artist managed to create a song, have it produced and recorded, and a record company agreed to release it accounts for some talent. To get below a 70, a song has to go beyond the casual shoulder shrug and dismissal to actual frown inducement.

     I hope my reviews entertain you. Feedback is warmly welcomed and greatly appreciated.
-MPII