Tag Archive: Dr. Dog


I think I saw you in an ice cream parlor, drinking Lazy Saturday cold and long.

Filed Under: General Interest
Feb.18, 2011

(Editor's note: I know that it is Friday.  But, I don't have work today and I am spending the next 36 hours in the Kelvin Smith Library.  In what's become something of an annual tradition for me, I'm barricading myself in a cloistered academic setting to bang out a big chunk of my doctoral work.  I'm on target to defend my proposal around spring break and then (if it all breaks right) defend my dissertation sometime in October.  Then you'll all have to call me doctor and I'll never have to tell you I'm taking a break from the blog to focus on school again.  In any event, you get a Lazy Saturday on Friday.  You are welcome.)

I have not listened to the new Decemberists record yet.  Citizen Dick's Recently Relocated Principal Ambassador to the Rocky Mountain Region, N.B., says that it is "stupid good."  It's streaming over at NPR and I'm going to give it a spin soon.

But.

I haven't really loved a Decemberists' record since Picaresque.  There were songs that I loved on The Crane Wife (I liked the majority of that record), but I'm not as head over heels for it as I am for the older stuff.  In related news, I'm not here to talk about The Hazards of Love.  I'm approaching the new record with a bit of caution, a little wariness.  I miss it when this band sounded like a slightly more literary collision of the Violent Femmes and The Pogues, when I could count on the band for a good death ballad and sea chantey per record.  I miss it when they pulled off Brian Eno covers on NPR instead of pre-streaming albums.  And I miss stuff like the cover below.  All that said, N.B. is probably right.  More details to follow.

The Decemberists – The Sickbed of Cuchulainn, Live

I'm also ready for Dr. Dog to put out a new record. 

Dr. Dog – Fuck It, Live

A final note: I'm not the world's biggest Arcade Fire fan and (more saliently) I don't really "understand" awards shows, but I do have an opinion on the Grammys.  (If some other internet "music blogospherist" has made this argument, I am sorry.  I have read nothing but Steve Forness and his boys lately.)  I think that Arcade Fire have blazed the trail for "being famous" in the fragmented internet epoch.  It looks like this:

1.) Make some piece of art that a tiny group of well-informed (and snobby) people like.  See: Funeral.

2.) Bathe in the backlash when that same tiny group of snobs decides (will-nilly) to hate your follow-up.  See: Neon Bible.

3.) Get heaps of praise from the mainstream media after the tiny group of hipsters have largely abandoned you for the next big thing.  Note that a small group of hipsters will either stick with you through phase two and do things like make their girlfriends listen to your records.  A similarly sized group of hipsters will tell people that you "sold out" and will stop liking you as soon as they see you on TV.  A third group of hipsters will like you more after they see you on TV and will be really proud of your accomplishment, even if they thought you sucked at phase two. and/or bought Funeral in 2008.  In any event, the vast majority of Americans will have no idea who you are, just like in phases one and two.  See: The Suburbs and this.

All that said, Jeff Mangum probably made the right call.

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Lazy Saturday is the thing with feathers.

Filed Under: General Interest
Dec.04, 2010

(Editor's note:  LeBron sucks.)

First up this week is new music from Conner Youngblood.  You're getting Conner Youngblood for three reasons.  The principal reasons are the banjo and the harp.  Pretty much anything that incorporates a banjo and a harp is going to get the greenlight from me.  Are there two stringed instruments that carry as much subtext as the banjo and the harp?  The banjo, with its workman's crust of murder ballads and land chanteys; the harp, with its gauzy, elvish glaze of wispiness?  Youngblood shackles these two unlikely bedfellows together and it's sweet.  Tack on his breathy vocals and you've got a track that I'm humming in the grocery store.  The third reason you're hearing Conner Youngblood today is Rob Lowe.  Exactly.

Conner Youngblood – Girl Hair

We saw Dr. Dog a couple of weeks ago.  We paid cash money to see them, so we do not feel beholden to a full length review.  Plus, you already know how we feel about Dr. Dog.  They are amazing on record and they are amazing live.  The stuff from Shame, Shame makes more sense to me now; I'm ready to call that record a success.  The old material just gets tighter and tighter every time we see the band.  They also busted out a couple of new joints which were mind numbingingly good.  Two of those tracks ("Take Me Into Town" and "Nobody Knows Who You Are") turned up on Record Store Day.  They're both tip top.  You can track down both from Dr. Dog, but we'll lob one 'atcha in good faith.  We've also got a classic live cut.  (It's a sing I've not yet heard live, which bums me out.)  Enjoy.

Dr. Dog – Nobody Knows Who You Are

Dr. Dog – Die, Die, Die – Live

 

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Dicks Talking About…Dr. Dog – Round Three

Filed Under: New Music
May.06, 2010

(Editor's Note:  This is the third installment of a new feature we're throwing against the wall, "Dicks Talking About…"  The gist: we listen to a record and then use this forum to semi-argue about it's quality.  Read part one and part two, then dive into this bit.  If you like the concept, drop us a line in the comments.  Word.)

Here's the dirty secret:  I like Shame, Shame. Kind of a lot.  And more every time I listen to it.  I'd call my colleagues responses to Dr. Dog's most recent effort tepid at best.  To keep the temperature imagery, if they're a slow simmer, I'm a soft boil.  (Editor's note:  it probably looks contrived that on day three of our exploration into a new feature, I'm taking a totally different critical approach than Kevin and Justin.  It's not; we wouldn't bullshit you.  Not our style.  I legitimately think the record is good.)

The argument against Shame, Shame seems to be, in part, that it isn't Fate or We All Belong.  I'd argue that this is a function of the fickle nature of the music consumer. If a band puts out the same record over and over, we say they're stuck in a rut. (Can anybody really tell the difference between any of the three Band of Horses records?  They're all good, but it's essentially one long album, right?).  We say that the artist isn't taking chances or growing or whatever.  When a band takes a left turn, we pillory them for abandoning their roots. (We gave Heartless Bastards a ton of shit for making a third record that sounded almost nothing like the first two, for instance. (That was probably deserved, but whatever.)) We say they read too many reviews or want to sell more records or whatever.  What other endeavor works like this?  What system, in the first case, demeans folks who find their niche? What system criticizes its practitioners, in the second case, for trying to grow and change and evolve and improve?  Unless you're Neil Young, you're fucked.

All that to say that Shame, Shame is a departure from earlier Dr. Dog material.  I love the last two records as much as anybody, but I'm glad the band didn't try to make that record again.  I'm glad they're taking chances.  Is there a song on the new record that is a strongly psychedelic and jammingly awesome as "Ain't it Strange?"  No.  Is there a song that imitates Joe Cocker as well as "Army of Ancients?" No.  Is there a song as fun as "Alaska?" No. 

But. 

There's not a song in the Dr. Dog catalog that's as insidiously catchy as "Unbearable Why."  (Buy the record, listen to that track.  If you're not humming the harmony all day, I'll buy you lunch.)  "Later" sounds like some long-evolved distant cousin of "I Can't Fly" (all the way back on Toothbrush) and is cool and funny and smart and sharp as hell.  "Where'd All the Time Go" takes that spontaneity that Kevin (and, to be honest, your man Brian as well) craves so much and filters it through a smoother pipe.  There are a couple of yelped "yeah"s in that track that remind you that this band is as much about free expression as anybody, but it's in a slicker context.  Do I love that slickness?  Probably not.  Can I live with it?  Totally.  Would I have told these dudes to stay away from an outside producer?  You bet your ass.  Not my call though.  In the end, this is not going to by my favorite Dr. Dog record.  But, happily, it doesn't have to be.  I already own my favorite Dr. Dog record.  I'm just happy that I get to listen to this one as well.

It does bum me out that these dudes left their label.  I'm not privy to any of the relevant details, but I'm not going to be cool with that sort of thing in general.  But.  You still with your first ever girlfriend?  Just asking.

We've got another track from Shame, Shame below.  As you listen, imagine it's a band that you don't know anything about.  That should help.  As an added bonus, I've got some more amazing 80s Yugoslavian pop.  I swear to god this one sounds like Shane McGowan fronting a klezmer band.  (Is there any way I could crown myself svengali of Euro-pop in much the same way that Aquarium Drunkard has taken the conch shell for Africa?)

Dr. Dog – The Stranger

Azra – Fa Fa Fa

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Dicks Talkin’ About Dr. Dog – Kevin’s Thoughts

Filed Under: New Music
May.05, 2010

In an effort to continue our new little feature here at Citizen Dick, I chime in with my .02 on Dr. Dog's most recent release, Shame, Shame, out now through 4AD. We've got the MP3 for "Shadow People" to share, along with a Letterman performance video for comparison's sake.  Justin commented earlier in the week with his opinions.  Well, allow me to retort…

Brian and I have seen Dr. Dog on two dates within the last 365.  I'll make the argument that there are very few jam-band, energetic, and completely fluid rock acts performing at the level Dr. Dog is when the amps are switched on.   Even more important when dissecting Shame, Shame is the idea that I originally blew off their previous album, Fate, as a kind of boring stab at bluesy jam rock.  It really wasn't until I begrudgingly joined Brian on a roadtrip to Dr. Dog's Columbus show that I really began to understand how fabulous their 2008 album is.  Their recorded material hits eleven when translated into a live setting.  You know the drill, right?  An album gets a few repeat spins here and there, but somehow catapults into heavy rotation once you've seen them perform the songs live; well, Fate, to me, transcends even that kind of revelation.  The instant I heard "Army of Ancients" in a dimly lit bar basement, Dr. Dog easily became one of my favorite "simple to love" bands.  I currently play Fate at least a few times per month, usually toggling back and forth between the aforementioned gem, "The Breeze," "My Friend," "The Rabbit, the Bat, and the Reinder," and the heavy-testicled "The Beach."  Folks, if you havent heard Dr. Dog's back catalog, there's not a lot of need to worry.  They have toed the line  as a sort of bubbly mixture of southern blues and deadhead monster jamming, hoisting singalong hooks aplenty.  I'll always be a fan, simply on the basis of Fate alone, and regardless of how I retaliate here against Shame, Shame, I know I'll shell out more dollars to see them again….and again….and again.

On first glance, Shame, Shame is unfortunately only moderately efficient.  It meanders through the apropos fodder to appease long-time fans.  It's really about the major shift in sound that leaves the newest effort flat, however.  There's  this candy-coated shell of 70's solid gold sound that hugely detracts from the entire vibe of the album.  I realize it's sometimes a poor decision to pit same-artist albums against one another.  After all, art can stand alone, right?  That's damn near impossible for a band that's been molded in a consistent ethos, though.  The central problem is that a mega-producer got a hold of this, and the grit and spontanaiety that was omnipresent in Fate is nowhere to be found on Shame, Shame.  Case in point, "The Rabbit, the Bat and the Reindeer" would chew and spit out all 13 unlucky tracks of Shame, Shame.  Fellas, where's the jamming?  Where is that spontanaiety that grabs hold of listeners and doesn't let go?  I'll add the caveat that this album will still get a chance from me.  It took quite a few listens before, Fate sunk in, and we all know it's sometimes a bad decision to rule out the underdog.  I reserve heavy judgment until I see these tracks performed live.

Throughout this week, I've attempted to dive in.  The album is not bad, and I don't mean to sound callous, but after a week of listening, I've quickly conceded to only press repeat on three of the tracks.  "Shadow People" is the real deal, as Justin mentioned in his post earlier in the week.  It's edgy lyrically, but includes the juvenile cheekiness that makes Fate tick.  "Mirror, Mirror" works in a similar mode, even if it seems a little tired and overly sentimental.  "Jackie Wants a Black Eye" has been doing the trick, as well.  The major issue is that I love these three tracks singularly because they remind me of the last record, and while they jam, they also stand out compared to the overall gloss of the remaining ten songs.  The album has way too much polish.  It's a left turn stylistically, and to be blunt, that's a dangerous move for a band that's garnered a huge following doing the little things so well. Dr. Dog has to make a few decisions.  They've obviously had a stellar career, but where does this ship move next? The jump to 4AD should be a promising start.  The central conundrum is whether or not they allow themselves to become a studio act or a band of traveling jammers.  A listener needs to look no further than the differences between these last two albums to figure out the direction they just stepped; I just hope they reconsider and take the road more traveled by.  For them, it's a formula that just plain works.

Dr. Dog – Shadow People

Buy Shame, Shame at Insound by clicking HERE

Dr. Dog Official Site

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Dicks Talkin’ About … Dr. Dog

Filed Under: Uncategorized
May.02, 2010

Hello friends! It has been a minute, but I'm finally back to join forces anew with my fellow Dicks and talk about indie rock.

We came up with a new idea for a week-by-week format that we'll all try to pitch in on, as we are able, and today we start the inaugural episode off. Knowing us Dicks, there's a 50% chance we'll forget about this within a week or two. However, there's also a 50% chance we'll be doing it well into the future.

In the hopes that the latter comes to be, here's what we have planned:

Each week, we'll decide on one album that will grace all of our playlists and then check in periodically to jot down our thoughts and dialogue with one another. Hopefully, some of you guys will join us in the conversation, too.

This first week we are starting with Dr. Dog's new record, Shame, Shame, which was released a few weeks back on Anti-. Since I'm the first one to blog about it, I get to set the pace. Sweet.

The record is the band's first album since leaving New Orleans-based label Park the Van (though for a minute, the label was operating in Philly, the band's hometown). I was bummed when I heard the band was leaving the label – it really is my favorite label in operation these days – and now that I've listened to the record, I'm extra bummed. It's missing the distinctive Park the Van sound you only notice in retrospect.

Instead, the fellas in Dr. Dog have traded in some of the DIYishness of their previous efforts for a super-glossy recording that just doesn't remind me of the band I've been digging these last few records.

There are still some golden nuggets, of course. "Shadow People" is certain to wind up on my Best of 2010 mix tape and "Station" reminds me of a Grateful Dead meets Willie Nelson jam that I'm sure the dude sitting next to me at the cafe as I type this would dig. (That's not a slam, mind you. He's a fine fellow, crazy friendly, and recently introduced me to the glory that are ginger snaps dipped in hot coffee. He's also opening his own head shop down the block in a few weeks, so if you are  in town and looking for a nice glass pipe from which to smoke your legal tobacco, give him a shout.)

Other tracks are promising – I'm thinking of songs like "Unbearable Why" and the Windmill-esque "Where'd All the Time Go" – but I'm having a hard time getting in to the deep cuts. Songs I'd usually blare – like the theatrical "Later" and the edgy "Jackie Wants A Black Eye" – just aren't doing it. So, fellow dicks, help a brother out. I'm looking to you guys to either point me to the genius on the record that I'm missing or join me in my sad ambivalence.

I don't want to be sad. I don't like being ambivalent. I love that feeling when you listen to a song one more time and finally get it. So, fellas, where is it?

Also, glad to be back. And it was lovely to see you on Record Store Day. Especially because Brian's little one made the trek out. Speaking of which, Brian – apologize to your wife for me for the repeated poop questions, please. I was really interested! Still, it was wrong and I'm sorry.

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Radio Dick – SXSW Regrets Edition

Filed Under: General Interest
Mar.16, 2010

We’ve had lots of folks sending in emails asking when we’ll be arriving in Austin for SXSW, and that picture up above pretty much describes what our replies are.  If the incredible decline in content over the last couple of weeks hasn’t communicated it, perhaps the sad face will.  We’re pretty swamped over here, but certainly not dead.  However, the slavemasters at our 9 to 5′s are keeping us out of Austin this year.  The good thing is that our writer Justin will be in the Austin area, but probably doing more of the fan thing as opposed the writer thing.  We’re officially drowning our sorrows in vats of Great Lakes beer and eating lots of donuts.  Our calendars include SXSW next year, so hopefully we can stick it to the man or get promotions in the meantime.  The interesting thing, however, is what happens to the blogosphere during these couple of weeks.  Everyone sort of puts on blinders and focuses solely on the SXSW circus.  Being bloggers that are not attending gives us a unique perspective.  We’re still listening to tunes and evaluating.  This is a boon for you.  Because we’re pretty strapped for time, here’s a quick round up of the goodies that have been gaining speed this week.  Enjoy this week’s list and follow us on TWITTER and FACEBOOK.  We hope everyone has a safe trip down to Austin.  Call me for my credit card number, and I’ll buy everyone a round or two.

This Week’s List

ARMS – Heat & Hot Water – In the wake of the unfortunate collapse of Harlem Shakes, Todd Goldstein decided not to go to sleep.  We’ve posted a few sporadic MP3’s from his solo project turned full on band, ARMS, in recent months, and he’s apparently hitting a creative stride.  The trio has just released a free EP for fans, aptly titled, EP, and the first MP3 offered is “Heat & Hot Water.”  Harlem Shakes was certainly a pop act, but Goldstein’s guitar work shouldn’t be underscored.  When we saw them play live last year, I noticed that Goldstein was a musical braniac, sitting behind the band and allowing his intricate guitar work blend in.  On the ARMS project, Goldstein gets to move outside the restricting peramaters Harlem Shakes required.  This is a good thing, folks.  Snag the EP HERE and spread the word.

ARMS – Heat & Hot Water

Keepaway – 5 Rings – Brooklyn trio, Keepaway, will release their EP Baby Steps via Lefse records on May 18th.  There’s a lot going on in “5 Rings” and it warrants quite a few repeat plays.  Synths, riveting percussion, and off-kilter melodies swirl on this thing.  We’re not super hip on any back catalog, but there’s certainly promise with this track alone.  In what seems to be the ongoing theme, Brooklyn outfits are testing musical boundaries and winding up with all the credit they deserve.  Consider moving Keepaway into the discussion, as the EP should hit pretty heavily.

Keepaway – 5 Rings

Japandroids – Darkness at the Edge of Gastown – Polyvinyl is releasing No Singles at the tail end of April.  It’s a compilation of Japandroids’ first two EP’s that have long been out of print.  Post-Nothing created a lot of waves last year, and it’s nice to get a taste of how the band was working before this album started gaining momentum.  “Darkness at the Edge of Gastown” comes from the second EP, Lullaby Death Jams.  The slicy metallic guitars are front and center.  For folks aching for more Japandroids tracks to break shit to, look no further.  On a side note, the band is touring soon with Avi Buffalo.  We’ll be at that double-date with bells on.

Japandroids – Darkness on the Edge of Gastown

Mimicking Birds – New Doomsdays - I don’t know a whole lot about Mimicking Birds, besides the fact that “New Doomsdays” has been circulating heavily in my playlist over the past week.  Their self-titled LP just hit the shelves last week.  Stereogum referred to their connections to Modest Mouse, and I can definitely hear it.

Mimicking Birds – New Doomsdays

HEALTH – In Heat (Javelin Remix) – I’m not a huge HEALTH fan on record, but I’m super stoked about Javelin’s upcoming album.  The remix play here is worth a listen, as the Brooklyn duo is about to turn water into wine with the new LP.  Enjoy.

HEALTH – In Heat (Javelin Remix)

Oh No Ono – Eleanor Speaks (Caribou Remix) – Justin reviewed Oh No Ono’s LP a couple of months ago and referred to it’s varietal grandeur.  Caribou’s upcoming album, Swim, also promises.  The melting together of these two works well.

Oh No Ono – Eleanor Speaks (Caribou Remix)

Dr. Dog – Stranger- Is it possible that Dr. Dog is the best live show on the planet?  I’ve seen them three times, and I’d be willing to throw some money down on this debate.  The bluesy hook-rocking foursome has now released two tracks from their forthcoming album, Shame, Shame, and smooth and ass-shaking sounds promise to continue with very little change.  If you’re within a 200 mile radius of a Dr. Dog show, chalk it up as a huge missed opportunity if you don’t gas up the car and catch the show.

Dr. Dog – Stranger

MGMT – Flash Delirium - I read an interesting article this week regarding “Flash Delirium,” which seems like a left turn for MGMT.  The first released track from their upcoming album, the shifting and changes in the song no doubt polarize listeners.  The band alluded to the creation of the song, pointing out that much of it was laughable at first and it’s almost as if they extended a short apology to fans that were put off by the track.  To me, however, this is a change in MGMT that I can get behind.  I’m digging it.

MGMT – Flash Delirium

Wye Oak – I Hope You Die – I just missed the Wye Oak show in PA last night, and I’m kicking myself for not paying enough attention to my calendar.  The buzz has been pretty hot on this band and for good reason.  The hybrid mix of about ten different styles are done without sacrificing melody and artistry.  Nothing seems forced, and tracks lay out as smooth as silk, also with enough rock to keep the blood pumping.  The Pittsburgh stop was a long way from SXSW, but I’m going to venture the long traveling won’t tire them one bit.

Wye Oak – I Hope You Die

Neon Indian – Sleep Paralysist – The glo-fi music can’t be that difficult to create, but I’ll always make the argument that it may be difficult to make it extremely well.  Neon Indian is at the top of this game.  The Small Black and Washed Out sound isn’t as colorfully rendered, and the newest leaked track from Neon Indian shows this.  Like popping weeds in a summer yard, hooks and catchiness is abundant; the standards the Palomo employs are still front and center.  Dude’s just simply creating excellent music.

Neon Indian – Sleep Paralysist

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C. D. Singles Club #70 – Dr. Dog – Shadow People

Filed Under: New Music
Feb.11, 2010

I don’t have to say much about our deep institutional love for Dr. Dog at this point.  I’m about as excited for their soon to be released ANTI debut, Shame, Shame as I am for any other record this year.  The first taste of the record bodes well.  “Shadow People” is a little less ornate than much of the material on Fate, but it maintains the vibe that we’ve come to expect (up to and including the multiple part harmonies that make the whole thing tick).  I don’t think I’m totally off base to note that the track owes something to “A Walk on the Wild Side.” which is obviously also appealing.  If possible, I’m now more stoked to hear the rest of the album.  We’ll have a critical statement on Shame, Shame as soon as we get our ears on the rest of it.  (While we’re here, and since it seems to be a recurring theme today, the erstwhile Jim James sings on the record.  Dude’s been busy.)  For the meantime, put this thing on loud, hit play and repeat.  Good times.  (More details, some tour dates and a nice photograph are available from our friends at Stereogum.)

Dr. Dog – Shadow People

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I sit in the top of the wood, my eyes Lazy Saturday.

Filed Under: General Interest
Dec.05, 2009

winter and so forth(Editor’s note:  I like seasons.  I like being able to understand the passing of time through changes in temperature and foliage.  This is one of the reasons I still live in Cleveland.  Move to Florida and you lose sight of the fact that time is moving forward; how can your primordial brain measure temporal progress when it is always warm?  We’re meant to be cold sometimes and warm others (it’s why we have hairy backs).  It was cold in Cleveland today.  It might snow on Sunday.  I am happy.)

Dr. Dog’s appearance at the Beachland Ballroom was on October 16.  Rob, Kevin and I rolled to the show (paying our own money, no less, not relying on a pr person to get us listed (so deep was our devotion)).  I’ve been meaning to write about it since, but have been kind of mulling over what the show meant and ruminating on why it was as awesome as it was.  Put it this way:  I did not see a better show in 2009.  I might not have seen a better show in 2008.  Or 2007.  And so on.  Dr. Dog is AMAZING live.  A numbered list works well here:

(1) Each band member is insanely talented.  Every person on stage has chops.

(2) They obviously like playing music and (more importantly) they obviously enjoy playing it with each other.

(3) The songs are good on record, but better live, illuminated with the technical skill and joyful elan described in (1) and (2).

(4) Seeing Dr. Dog live makes me want to quit my job and start a commune in the Canadian wilderness.  Wrapping my brain and ears around the (I’d argue) intricately psychedelic near jams of Dr. Dog force me to ponder throwing off the shackles of post-modern capitalist society, spinning my own clothes, killing my own food, bathing once a year and, essentially, striving to live in harmony with man and nature and all the rest of it.  (Seriously.)

I’d be hard pressed to tell you what my favorite moment of the Beachland Dr. Dog show was; the set was laced with songs from We All Belong and Fate, which may well be two of the strongest albums of the decade.  Working with that material but layering it with the kind exuberance the band brings to the party is an absolute winner.  If pressed, however, it might be “Ain’t It Strange” that made me smile the most in October.  They did not play it when Kevin and I saw them earlier the year in Columbus and the a capella breakdown always gives me the shivers on record; live, I almost shit myself.  We’ve got a killer live version from a session the band did for Amoeba a while back; to close (and I can’t say this strongly enough) see Dr. Dog whenever and where ever you can.

“Ain’t It Strange” – Dr. Dog – Live

I was looking for something else the other day and I stumbled across this Jim James “Rocket Man” cover from a 2000 MMJ appearance on a Nordic radio station.  Somehow, I’d never heard this before and I’ve listened to it over and over since, trying to decide if I love it or hate it.  Usually, I devour MMJ covers with joy; I can’t wrap my brain around the tone of this one though.  This isn’t a sad song, is it?  James sings it like a dirge, but I think it might be something else.  There’s some celebration of the road life in the Elton John version, no?  Some declaration that, while it has it’s drawbacks, the stuff you get from charging into lands unknown, while dampened by your longing for home, is worth it in the long run.  James’ rocketman sounds like he’s seconds away from stepping into the airlock without a spacesuit on; dude is sad and lonely and depressed.  There are no trappings worth the grief James pushes into this version.  I don’t like this reading of the song as much as John’s (almost) Pollyannic vision of fame and its repercussions.  I still can’t stop listening to it.

Since we’re going with an MMJ nugget that forces deep thought, I thought we’d give you something that is pure aural candy as well.  Is there an MMJ song that I love more than “At Dawn?”  Probably not.  In short:  Nerts to the naysayers! Go confidently in the direction of your dreams!  Live the life you’ve imagined!  Yes!

“Rocket Man” – My Morning Jacket – Live

“At Dawn” – My Morning Jacket – Live

We are approaching the holiday season.  To celebrate, we’re closing with a little bit of Lee “Scratch” Perry weirdness.  I’m not sure that it’s a de facto Christmas song, but given that Lee chants “Santa Claus, Jesus Christ, Mickey Mouse” over and over, it seems likely.  Two out of three isn’t awful, right?

“Santa Claus” – Lee “Scratch” Perry

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Lazy Saturday, leaning together, headpiece filled with straw.

Filed Under: General Interest
Sep.05, 2009

what is this dude's deal

(Editor’s note: I’m feeling strangely nostalgic this Lazy Saturday, more prone to looking back than forward.  We’ve been hitting you with bands that you ought to pay attention to over the last few weeks in this forum (Young Buffalo, Heliotropes, AIDS Wolf and so on), but this week I just want to revel in the music of my youth.  Self-serving?  Probably.  As I’ve said before, however, if it’s not your bag, get your own damn blog.  In other news, that dude up top is wearing the silliest hat I have ever seen in my life.  You buy a hat like that, I bet you get a free bowl of soup.)

I’ll go to the mat on this particular argument: the eight-year, five album span from R.E.M. that begins with 1988′s Green and concludes with 1996′s Automatic for the People is one of the most spectacular stretches of recorded material ever.  Take a mental tour of the songs that weren’t singles in that stretch: “World Leader Pretend,” probably my favorite rock song that’s overtly pretentious and inflated, “Sweetness Follows,” which they goddamn well better play at my funeral, “Low,” with its slinky, nefarious groove, the frenetic madness of “Leave” and so on.  After you do that, think about the singles.  Sweet merciful crap.  It’s a murder’s row of songs that are in the canon, songs that require zero explanation or justification:  “Stand,” “Pop Song 89,” “Losing My Religion, ” “Near Wild Heaven” (Maybe that one does require some discussion.  Take that song out of context, away from the Earth-shattering hugeness of “Losing My Religion” and it’s absolutely stunning.  It’s the music version of George Clooney and Anthony Edwards on E.R.  (I talked to Mrs. Citizen for this one.)  Clooney was so physically attractive that you could forget how sneaky hot Goose was.  Same thing happened to Edwards in Top Gun.  Dude couldn’t catch a break.  Leaving the homo-erotic sidebar, it’s impossible to ignore how good “Near Wild Heaven” is when you listen to it on its own.  Try it.), “Drive,” “Nightswimming,” E-Bow the Letter” (Patti Smith!), “How the West was Won and Where it Got Us” and so on.   (That list even leaves out some of the more commercial hits, like “Stand” and “Man on the Moon” and “Everybody Hurts,” so…)   Even the comparatively shitty record they put out in that period (Monster) has some deeply listenable songs on it (“Strange Currencies” and “Bang and Blame,” at the very least, hold up.  I’ll shit on that Courtney Love song as much as anybody, but it’s not like the whole record is an abomination.  Just saying.)  All told, I’ll take the Pepsi challenge against any other five-album stretch from a major recording artist.  Think on it for a second, taking in traditionally lauded “modern-rock” artists.  For the sake of argument here, let’s cap the discussion with records released between 1978 (no need to bring The Beatles and shit into the conversation) and 2005 (not really enough time on the turntable to say if Yellow House and Veckatimest are Off the Wall and Thriller, right?)  Radiohead?  Maybe as good a five record stretch (The Bends – Hail to the Thief), but Amnesiac, as much as I love it, is admittedly kind of a b-side thing and Hail to the Thief is probably the Monster of the bunch, but with maybe a couple more songs that hold up.  U2?  Could have worked if The Unforgettable Fire wasn’t the worst record ever made.  (“Pride (In the Name of Love),” while maybe admirable for its paean to a hero, is absolutely reprehensible as a song.  They’re from Ireland!  Seriously!)  The Smiths?  Only put out four records.  Bruce Springsteen?  If Bruce is the Boss, then I fucking quit.  Chew on it for a minute and then try and dispute the claim that, for people my age, R.E.M. had the greatest string of five records that we might ever see.  (Five isn’t anarbitrary number, by the way.  The Clash only put out five records (although it was a shit ton of songs) and I’ll take their catalog over anybody’s.  They’re out of this particular conversation, however, cause they might as well be The Beatles.  We’ll hash that out another day.)

Why this diatribe on R.E.M.?  When I got home from work today (after a couple of brews at the Lincoln Park Pub), I had an advance copy of the upcoming live R.E.M. record in my electronic mail.  I feel like Jim Brown.  It’s not getting any better for me as a blogger and, as such, I am considering retirement.  I’ve listened to all 39 tracks from Live at Olympia (out October 27) and it is an absolute delight.  Earlier R.E.M. live records were, arguably, masturbatory and disposable, but this one is the truth.  “Driver 8″ and “New Test Leper” alone will be worth whatever they charge for this thing.  We’ll have a full review as the release date approaches, but you just need to know this: it is good.  (Also, as an added bonus, Diamond Jim openly and actively dislikes R.E.M., so it’s nice to throw a couple hundred words in his grill.)

The two albums that resonate the most with me from the period are Automatic for the People and New Adventures in Hi-Fi. The latter came out during my first semester at Bowling Green and I listened to it more times than could be counted.  The former is one of the greatest albums ever.  Hands down.  I didn’t want Warner Bothers to sue me, so I’m not posting any tracks from either record, but Stereogum put together a killer covers compilation a few years back for Automatic for the People‘s 15th anniversary and we’ve got a couple of cuts from two Citizen Dick favorites from that.  (The whole thing is available here.)  Also, just for shits and tickles, is the epochal video for “Drive.”

Dr. Dog – Find the River – R.E.M. Cover

Blitzen Trapper – Star Me Kitten – R.E.M. Cover

I know that we’ve already posted a slew of Mission of Burma tracks.  I don’t care.  You’re getting one more, mainly because Mission of Burma will be playing TONIGHT on the campus of Case Western Reserve University for free. I’ll be the dude freaking out when they launch into this one.  Say hi if you feel like it.

Mission of Burma – The Ballad of Johnny Burma – Live, 2008

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TGIF Birthday Hodge Podge – Dr. Dog + The Cave Singers + Belle and Sebastian

Filed Under: General Interest, New Music, The Vault
Jun.19, 2009

It’s been a pretty hectic week for me here at Citizen Dick’s Chicago outpost.  Between cracking down on the job search, scrambling to find a new apartment before the first, and preparing to get my birthday on this weekend I haven’t had a whole lot of time to listen to new music.  As such, today’s Hodge Podge is going to be short and sweet.  Now I know I’ve said that before and then gone on to type neatly 1500 words anyway, but this time I mean it.  Besides, it’s my birthday and I make the rules, so even if I do end up rambling on what are you really going to do about it anyway?

Given the last few weeks, I imagine that most of you regular readers are expecting me to start off the day with the low down on where to see the best free music in Chicago this weekend.  Well, you’re in luck.  This weekend the best street festival music hands down is going to be at Taste of Randolph.  As far as party atmosphere goes, it pales in comparison to SummerFest celebration going on in Lincoln Park, and because it takes place along restaurant row ad focuses on great food, the eats (and drinks) are a little pricey by street food standards.  The tradeoff there, however, is that you will be feasting on op-notch treats from some of the cities best restaurants rather than chocking down overpriced “chicken” on a stick.  And as for the booze, if you aren’t sneaking your own alcohol into a street festival anyway you are doing something wrong.  So if you end up having to pay $8 for a can of Amstel Light that’s your bad, not the festival’s.

Dr Dog Band

As for the music, Taste of Randolph offers possibly the best headliners you will find all summer long in Chicago.  My personal pick is Dr. Dog (that’s them up there, not a gang of vagrant train conductors, in case you were wondering), who is headlining the main stage on Friday night at 8:30pm.  Our love for their last album, Fate, is well documented by its inclusion on our ‘Best of 2008’ list, and we have also praised their spectacular live set when Kevin and Brian reviewed the spectacular show they put on recently in Columbus.  As such, there’s a good chance you will find me somewhere near the front of the stage celebrating my birthday later tonight.

The rest of the weekend’s headliners are equally stellar as well, in case you were wondering.  Saturday night features the weirdest supergroup ever, Tinted Windows, hitting the stage at 9pm.  In case you haven’t heard, the band consists of Taylor Hanson on vocals (yes, THAT Hanson), James Iha from the Pumpkins on guitar, Adam Schlesinger from Fountains of Wayne on bass, and Bun E. Carlos from Cheap Trick on drums.  It’s a complete motley crew, but I promise they sound better than you probably imagine.  Finally, Sunday features seminal indie gods The Hold Steady.  For most people they are probably the highlight of the weekend, but I’ve personally never been a huge fan.  I mean, I respect the fact that they are a good band and that they are ‘relevant’, I’m just not a huge fan of their sound.

In the spirit of giving others gifts on MY birthday, and because I’m keeping things brief and only featuring one “hot new” track today, here’s am mp3 from each artist to get you pumped for the festival this weekend.  Enjoy.

Dr. Dog – “Army of Ancients”

Tinted Windows – “Kind of a Girl”

The Hold Steady – “Your Little Hoodrat Friend”

Buy all of these artists @ Insound!

Cave Singers Album Cover Art

Today’s first and only new track is the first leaked cut from Seattle trio The Cave Singers’ upcoming sophomore effort Welcome Joy.  Their first album, 2007’s Invitation Songs, was a favorite of mine for quite some time, so when I heard that a follow up was finally in the works for this year I was pretty damn excited.  The lead track that I’m posting here certainly didn’t disappoint, showing off the sublime brand of countrified Americana that made me fall in love with them two short years ago.  I actually wanted to showcase this track last week, but having only heard it a coupe of time at that point I decided to hold off and get better acquainted with it.  I’m glad I did because it has given me an excuse to spin it on repeat for the better part of this week.  I have a feeling you will end up doing the same.  The new album drops August 18th on Matador Records (new home to Harlem, in case you haven’t heard), so mark your calendars and expect a full review in a month or so.

The Cave Singers – “Beach House”

Buy The Cave Singers @ Insound!

Belle and Sebastian Band

Today’s vault track is from an old favorite of mine, Belle and Sebastian.  Despite the fact that they are liars (their name would lead you to think that there are only two of them, which is radically false), I’ve been a big fan for a long time now. I consider heir 1996 sophomore album If You’re Feeling Sinister one of the best indie albums of all time (top ten at least), and I am also partial to 2006’s The Life Pursuit.  Their inclusion today, however, has less to do with nostalgic favorites and more to do with wishful thinking.  Since I first heard it three of four years ago, I have considered the bright, poppy “Another Sunny Day” to be a quintessential song of summer, making its way on more solstice playlists than I can possibly recall.  In anticipation of beating the odds weather-wise for my birthday weekend, I’ve been spinning it a lot for the last few days.  Maybe if we all listen together Mother Nature will cooperate and bring some sunshine our way.  I know it’s a long shot, but either way we get to hear a pretty kick ass song, so there’s really no downside to my proposition.

Belle and Sebastian – “Another Sunny Day”

Buy Belle and Sebastian @ Insound!

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