CD Odyssey Disc 173: Gordie Sampson

Stuck in a massive track jam on the way home today allowed me to get through another album - and here it is.

Disc 173 is...Sunburn
Artist: Gordie Sampson

Year of Release: 2004

What’s Up With The Cover?: I have no idea, but I don't like it. It looks like a bad effort at artsy photography. There's a picture of Gordie Sampson on the back cover, but it isn't much better, so maybe this cover was the way to go after all.

How I Came To Know It: Sheila and I went to see Jimmy Rankin on his "Handmade" tour in 2004 at Camosun College (I reviewed Handmade back at Disc 130). It was a great concert, and Gordie Sampson was the opening act. We liked him, so I bought this album within a week.

How It Stacks Up: I only have this one Gordie Sampson album, and I'm not likely to get another any time soon. You can't really have a stack of one, so not much more to add on that front.

Rating: 2 stars.

When I first saw Gordie Sampson with Jimmy Rankin, I was quite impressed. He has a strong voice that is almost bluesy in places. His songs were sweet and the lyrics had more to offer than most stuff you'll find in this particular blend of pop-folk Canadiana.

Unfortunately, with the passage of time, that live show doesn't have the same resonance as it once did, and the album doesn't match the memory anymore. The record has too much overly-clever production: background 'ooh oohing' by a woman on the title track, and re-recorded refrains of the song played faintly in the background. That and just too much instrumentation everywhere.

I found myself just wishing it was Gordie Sampson, his voice and a guitar on a stage in front of 200 people, like it was when I first heard it. Alas, that is not this record. Even tracks that start out promising, like "Hangin' By A Wire", can't seem to resist adding layers of pointless production in a vain attempt to make the chorus have more resonance. It has too much pop, and not enough folk - so much so I decided to simply file it under pop.

The record also picks at a couple of my pet peeves. One, I've mentioned a few times on the Odyssey - the habit of some modern artists to think it is OK to not properly punctuate their song titles - typically by eschewing the use of capital letters. Capital letters are part of the English language, people - they aren't a font option. Please punctuate.

The other is a lot more obscure - one of the record's better songs, "Sunburn" makes reference to drinking a bottle of Wolfblass wine. I can't abide Wolfblass - and it was particularly bad in 2004 when it seemed everywhere you looked someone was ordering it in a restaurant. I'll take my Campofiorin Valpolicella anyday.

This album isn't all bad, and it delivers strong performances in places. It is unfortunate the excess production serves as a barrier to Sampson's promising writing; it could've been so much more, by doing a little less.

Best tracks: Sunburn, Don't Shoot the Messenger, Your Place In This World.

CD Odyssey Disc 172: Ewan MacColl and Peggy Seeger

When I rolled this album, I wasn't sure if I should even review it. But Sheila insisted that I follow through on my crazy oath of a year ago - I suspect because she'd be hoping I'd sell it.

No such luck - I actually enjoyed myself - although I can't speak for anyone stuck at a red light with me since last Thursday.

Disc 172 is...Scottish Drinking and Pipe Songs
Artist: Ewan MacColl and Peggy Seeger

Year of Release: 1984, but there is no sign of the date on the disc itself - I had to search for the title on the 'interwebs' just to get this information.

What’s Up With The Cover?: A collection of Scottish ale and spirits - and an ashtray. This cover makes me thirsty.

How I Came To Know It: This is a disc I believe my Mom bought at some garage sale or similar event for next to nothing. She didn't like it, but I fell in love with a few of the tracks, and asked if I could have it - and here it is.

How It Stacks Up: I only have one CD featuring Ewan MacColl or Peggy Seeger, and I only have one CD that anthologizes Scottish Drinking and Pipe Songs - this disc is it on both counts.

Rating: 2 stars

While I was looking up the date of release of this disc I inadvertently learned a bit about its creation, which actually made me enjoy it that much more. As it happens, a fellow by the name of Alan Lomax, travelled all through Scotland and recorded songs that were sung in small town pubs all over the country.

Then, he worked with Ewan MacColl and Peggy Seeger (and a few other 'guest stars') to put them all down on disc. If it weren't for labours of love like this, some of these songs might be lost over the years, so commendations to those folks taking the time to keep that from happening.

This album is very raw - the production values vary widely. The opening tune, which is a bagpipe medley is turned up so high that it feels like the pipes are going to burst your eardrums. Of course, that is how the pipes are meant to be heard - so you're welcome, fellow drivers! Glad to share some musical history with you.

Other tracks are recorded so low or poorly, even turning them up doesn't resolve all the issues. This record is not about slick production however - if anything, it is the Platonic ideal of rustic. No shadowy reflections of the rustic on cave walls here - this is sheer, unadulterated folk music, belted out with neither pretense nor apology.

My initial interest in this album was a fascination with one song, "He Widna Wint His Gruel". This fascination has bordered on obsession over the years, and if you ever hear me singing that lyric out loud in a Scottish brogue, this album is the reason why. Also it may mean I have been drinking - but not necessarily.

"He Widna Wint His Gruel" is Scottish dialect for "he wouldn't go without his porridge." It is a song about a guy married to a beautiful young bride, trying to catch his attention for more amorous pursuits, but the man is obsessed with eating his porridge before he does anything else.

At one point she offers him a tray of sweetmeats and wine, but his reply is:

"Gae on gae on with your falderall
For I've nae had ma gruel."

At least I think that's what he says. The album is full of tracks where the combination of the accents and the dialect itself is so difficult, that at times it takes a while just to know if they are singing Gaelic or English. I found this experience exhilarating.

When the record is on, it is really on. In addition to the gruel eating song I noted, there are great Jacobite war songs, songs about people being abducted by fairies and tracks describing all manner of bawdy behaviour. My favourite of the latter being "Never Wed An Old Man" which tells:

"When we went to our bed, he lay as he were dead
Maids when you're young never wed an old man."

Not so good are long rambling tracks where Ewan MacColl interrupts himself to explain the lyrics, or is himself interrupted by old women providing very uninteresting oral history about how they had no liquor, because in their youth they were too poor. Another track "Gentle Lady" was originally sung to soothe cows during milking, which I file under 'tracks that shouldn't qualify as drinking songs unless they end with The Dude mixing a white russian' (Hint: it doesn't).

There are twenty-five songs on this album, and as usual it results in way way too much filler. Of the twenty-five, I'd say about eight are good, eight are passable and the rest are either laughable or awful, and usually both.

As for the singers, Ewan MacColl has a gravelly voice, and Peggy Seeger has that singy-songy voice that is so common to hard cover folk music. Neither is great. Ewan sounds like he's working on his third pint at times, and Peggy's voice occasionally takes on an effect that sounds like she's taken out her dentures.

That said, their voices are perfectly suited to the rustic feel of the album. They aren't polished, and it is the lack of polish that helps give the record its charm.

This album is messy in places, and and times it sounds downright amateur - but it also sounds authentic, and I felt frequently transported back to 1996 when Sheila and I visited a few small Scottish pubs ourselves. The people of these small towns were so welcoming to us; full of good humour and quick to offer a pint and a kind word to a stranger.

In one small town, near Skye, we were staying at a B&B and having dropped off our bags, wanted to head out to the local pub. When we were ready to leave, we couldn't find a lock for the door to our room and worse still, our hostess had disappeared while we were unpacking.

Eventually, we gave up and began walking into town. About a mile later, sitting on the deck of the neighbour's house was our hostess, knocking a few back with a few other locals. She called down and asked if we were heading to the pub - or if we'd like to join them.

"We're heading for the pub" I said, "But we were wondering how we can lock our room for the night."

Everyone on the deck had a good laugh and she replied, "Lad, you don't lock your door here. You're in the Highlands now!"

This album reminds me of that story. If you're looking for some key to critically review it, you'll be flummoxed. Just approach it with an open heart, pour yourself a scotch (and a beer to chase it) - and raise a glass to the Highlands. It isn't any more complicated than that.

Best tracks: Bagpipe Pipe Tunes, Never Wed An Old Man, He Widna Wint His Gruel, My Rovin' Eye, Jack MacGraw, Lament for William Chisholm, Soldier's Song, Aikendrum, The Gairdener Chyld, The Maid Gaed to the Mill.

CD Odyssey Disc 171: Aimee Mann

I hadn't expected to have a blog entry today, but the combination of a short album and a long drive and here we are.

Today, we return to the world of pop - but it is OK - it is good pop.

Disc 171 is...Fuck Smilers
Artist: Aimee Mann

Year of Release: 2008

What’s Up With The Cover?: I believe Aimee Mann has a message for smilers on this cover. Also worth noting are the two screws on the left hand side. This is the 'special edition' version which in addition to costing more, is bound in book form, rather than a jewel case, or the more recent 'folded cardboard' approach. I actually wanted the regular version, but this was all the store had, and I couldn't wait to buy the album any longer.

I don't mind the special edition look, but it takes up that much more space on the CD shelf, and the spectre of running out of space again is always looming in my mind.

How I Came To Know It: This particular album was just me buying Aimee Mann's new album when it came out. I've known her as an artist since Sheila discovered her about five or six years ago.

How It Stacks Up: I have six Aimee Mann albums. I've already reviewed her two best, "The Forgotten Arm" and "Lost in Space". I'd put "Fuck Smilers" in 4th place.

Rating: 3 stars, but almost 4.

What can you say about Aimee Mann? - she gives pop music a good name. That is a difficult accomplishment from where I'm sitting.

After a three year gap from 2005's "The Forgotten Arm", Mann released this album. It is good, but it pales in comparison to the five star frenzy of what preceded it. Because of that, I have to remind myself not to judge it too harshly, but instead just take it on its own terms.

This album has less range to the composition, and so the songs don't stand out starkly against one another. That said, the whole album has a nice relaxed groove that helps the harsh topics sneak up on you in more than a few tracks.

The album opens with "Freeway" which unsurprisingly is great for driving. In general the album is good on the road, and it strongly evokes the emotional detachment of the LA freeway scene - or so I imagine.

As usual, Mann is at her best when she is singing about depressing topics. Hardly surprising the album is called "Fuck Smilers" - well it is called "@#%&*! Smilers", but her intent is clear.

In "31 Today" a woman bemoans lost opportunity on her thirty first birthday:

"31 today
What a thing to say
Drinking Guinness in the afternoon
Taking shelter in the black coccoon.

I thought my life
Would be different somehow
I thought my life
Would be better by now."

I like how the black coccoon is both the Guiness in particular, and the character's mood more generally. It is also impressive that Mann - who records this song at the age of 48, takes on the character of a 31 year old, and makes her believably world weary.

She packs all this yearning sentiment into what would otherwise be a groovy little pop song. By singing about a character at a different age than herself, Mann reminds us that these feelings of self-doubt and insecurity aren't age related, but can come over us at any time.

If Aimee Mann were a typical pop songwriter, she'd come up with some kind of trite answer for these feelings - after all her voice is so pure and clear she could give you an emotional lift without you ever noticing the short cut.

Instead her heroine in "31 Today" decides to take a stranger home from the bar for some meaningless sex, and the song ends with her "getting loaded and watching CNN."

Later in the album she sings an ode to natural disasters with "Little Tornado":

"Little tornado
Bane of the trailer park
Lifting houses to leave your mark."

"Make it go faster
Baby go faster
Make it go twice the speed
Of you and me."

The song is sung softly - a lullaby to an incredibly destructive and arbitrary force, which reminds her of similar qualities she perceives in her own relationships. Her reaction to this horrible realization? Make it go faster - let it externalize her own storm.

"Fuck Smilers" isn't the magnificent work of "The Forgotten Arm" but it is a competent, enjoyable listen from a singer/songwriter who refuses to let her beautiful voice sing anything other than hard truths. She is always willing to let you see inside her own tornadoes. They are terrible and beautiful, and even if this record doesn't deliver a five alarm twister, they are still good enough you don't want to look away.

Best tracks: Freeway, Borrowing Time, 31 Today, The Great Beyond, Little Tornado.

CD Odyssey Disc 170: The Who

It's been a long couple of days. Yesterday I drove three and half hours to attend my Grandmother's funeral (they call it a 'celebration of life' but I don't go for euphemisms) then three and a half hours back.

I' going to miss my Grandma, but at the same time she lived a long life (90 years) and was in ill health at the end. It is hard to say goodbye to someone, but it's also hard to watch them fade away.

Not surprisingly, I wasn't really in the mood to drive at all today, but I had this thing called 'work' which pays me, allowing me to spend leisure time with food and shelter and write this bumpf.

So, here we are...

Disc 170 is...Odds & Sods
Artist: The Who

Year of Release: 1974 (but reissued in 1998 in this form, with 'bonus' tracks)

What’s Up With The Cover?: The Who wearing 'American' football helmets. I wonder if this means they loved American football, or if as a British act they just thought it was kind of goofy. I, of course, love American football, but I only get excited about a white helmet with an aqua dolphin on it. Since these helmets don't have such a logo, I rate it a 'meh'.

How I Came To Know It: I got this album shortly after seriously falling for "Who's Next" when it was re-released in the mid-nineties. I was looking for another Who album, and trying to avoid a compilation record. Oops.

How It Stacks Up: I have three Who albums as well as the infamous greatest hits record "Meaty Beaty Big and Bouncy" Of the three albums I have, I'd say this one is third or to put it more bluntly - not as good as the other ones.

Rating: 3 stars.

"Odds & Sods" isn't a true album per se, it is a basement tapes type album - a compilation of tracks that for various reasons didn't make it on earlier records and went unreleased in the same manner as Pearl Jam's "Lost Dogs" which I reviewed back at Disc 109 in March of this year.

Originally released in 1974, "Odds & Sods" was re-released in 1998 with a bunch of extra tracks added on top of the original record. The original record was fourteen songs, and and additional nine on top of that comes to an unwieldy twenty three (the added space on CD collections is both a blessing and a curse).

I can't really complain about the tracks they added, as most of them are pretty good. That said, the whole practice of doing this leaves a bad taste in my mouth. I think once a record is released it should be left alone, not monkeyed with. Not only were a ton of tracks added, they rearranged the order to make them appear chronologically from when they were recorded (from 1964 to 1974).

I actually liked the re-arrangement, as I prefer to hear songs by year of release (except, of course, where I've gone crazy and decided to spend a few years randomly selecting my music). Still, I'd rather they disappointed me, since again - this messes with the original presentation. It is the band's business to do what they want in this regard, but as a fan it is my business to say what I think about it.

I strongly suspect this sort of behaviour is at the behest of some soulless record executive that has some kind of market research showing it will increase sales among those who already own the record. When confronted with this accusation, I'm sure most soulless record execs would reply, "But you bought it, right?"

Anyway, the music is what I would expect from a twenty-three track album of extra songs. There are a few great ones, but also a fair bit of filler. Four of the best ones ("Love Ain't For Keeping", "Pure and Easy", "Naked Eye" and "Too Much of Anything" are also tracks on the "extra tracks" version of 1971's "Who's Next". I am not a sufficiently rabid Who fan to appreciate the different versions.

Spanning over ten years, this record does underscore how much more I prefer the Who in their early seventies incarnation. I don't mind the early stuff, but it is missing the driving guitar I like in later work.

Because the album has been re-organized chronologically, this meant that I enjoyed myself more and more as it went along and the last ten tracks are all excellent. However, they can't make up for the fair bit of filler that comes before them, so I'm going to stick to 3 stars for this album. It has some good Lost Dogs, but also a few that didn't need to be found, and the pick of the litter are available on "Who's Next" anyway.

Best tracks (that aren't already on "Who's Next): Mary Anne With the Shaky Hand, Time Is Passing, Long Live Rock, .

CD Odyssey Disc 169: Rush

Having just finished up one of the busiest work weeks I can remember, getting this next album was a nice Friday payoff.

Disc 169 is...A Farewell To Kings
Artist: Rush

Year of Release: 1977

What’s Up With The Cover?: A fool or jester sits mockingly on a throne (or at least a fancy chair) amidst some ruins. A 'Farewell to Kings' - get it? get it? The ground looks pretty rough around there, and that jester should get himself some better footwear - I don't think a pair of holey socks is gonna cut the mustard on a demolition site. He should also work on his posture.

How I Came To Know It: I've known about this album since it came out, but I didn't really know it until my room-mate Greg bought it in the early nineties. I bought it myself way back when the remaster was first issued in 1997 or maybe a year or two later.

How It Stacks Up: I have all eighteen of Rush' studio albums. "A Farewell To Kings" is a great record, but competition is steep. I'd say it is equal to my last Rush review, "Snakes and Arrows", meaning it is 8th or 9th depending on my mood.

Rating: 4 stars

"A Farewell To Kings" is solidly in the middle of Rush' seriously wack-a-do prog phase, coming right between "2112 and "Hemispheres". And by wack-a-do I mean, of course, awesome. Instead of a twenty minute track like on "2112" they've settled for two tracks of ten minutes plus, "Xanadu" (11:05) and "Cygnus X-1" (10:21). I'm sure radio stations were thrilled with the concession.

I am not a radio producer, however, I am a lover of seventies prog-rock, and I wholeheartedly endorse ridiculously long songs, as long as they are good and they keep my attention. Both the abovenoted tracks do so, particularly "Cygnus X-1".

The album feels like a concept album, but I'm not sure exactly what the concept is. The collapse of civilization is heavily noted throughout, and I imagine the last track, "Cygnus X-1" is humanity taking a space ship through a black hole to colonize a distant world and start again. At least that's what I took from it, but if I'm wrong I'm sure Kelly will correct the record.

Not content with having a single album resolve their themes, Rush's next album starts with "Cygnus X-1, Book II." A single album just couldn't cover it.

I think both long tracks are solid, but I also like the more radio friendly fare on "A Farewell to Kings" particularly the 5 star anthem "Closer To The Heart", a lyric from which I often quote (incorrectly) in my e-mail sign offs. Yes, yes - I'll get that fixed straight away. Here's the correct quote, and it is a message we should never forget:

"And the men who hold high places
Must be the ones who start
To mould a new reality
Closer to the Heart."

Neil Peart rules. However, he doesn't rule alone. I also like "Cinderella Man", another (sort-of) radio friendly track that follows it. The lyrics here are about an incredibly wealthy man who is deemed insane because he wants to use his wealth to help the less fortunate. Surprisingly, the lyrics this time are written by Geddy Lee. The song reminded me strongly of Kurt Vonnegut's book, "God Bless You, Mr. Rosewater" which has virtually the same basic story. I wonder if Lee read the book and was inspired.

Incidentally, if you haven't read "God Bless You, Mr. Rosewater" do so - it is my favourite Vonnegut novel. But I digress...

Of course, the musicianship on this album is typical for Rush - meaning it is at the highest level imaginable. These guys are masters of their craft at all times.

"A Farewell To Kings" is a classic album from the golden age of classic rock. If you don't have it, it's worth your time, along with the seven Rush albums I like better. What are those albums? Well long time readers will know one of them and as for the other six...they still await the roll of the dice.

Best tracks: Closer to the Heart, Cinderella Man, Cygnus X-1

CD Odyssey Disc 168: Ramones

The latest disc in the Odyssey was a double album anthology. With so much music, at first, I was thinking about how many drives home it would take before I'd be able to write the review.

Of course, that was before I forgot to bring my camera to a photo op event for my work. This meant I had to get to work, turn around and race home and then race back to work. I made it in time (Miata: there is no substitute). As an added bonus it shaved a couple days off for you, dear reader, who no doubt was hanging breathless in anticipation of the next record review.

Well, here it is.

Disc 168 is...Ramones Anthology: Hey Ho, Let's Go!
Artist: The Ramones

Year of Release: 1999, but with music from 1975 to 1993

What’s Up With The Cover?: On first glance, this appears to be that iconic photo of the Ramones for their debut album (one of the greatest band shots of all time). However, my image searching showed that album actually is a similar shot, with their jackets done up, etc. I think this might be some secondary shot from that record, but since I don't have the record, that's only conjecture. Anyway, a damn fine album cover by any standard.

How I Came To Know It: My friend Casey brought this exact anthology over to our place one night. He left it here, and I listened to it for a week before he came and collected it. I frickin' loved it, and so bought it shortly thereafter (maybe 7 years ago?).

How It Stacks Up: For the 3rd review in 4 albums, I'm once again forced to explain that best ofs don't stack up. They are compilations by nature, so there is no way to fairly compare them to actual albums. That said, this is the only Ramones compilation I have, and I like it plenty.

Rating: not applicable. It is a best of, monkey! They don't receive ratings, and that is the way of it. Deal.

I have never been seriously into punk, although I admire it's visceral energy. For this reason, all my early exposure to the Ramones is through being at a party, or hearing a well known track like "Blitzkrieg Bop" or "Rock and Roll High School."

That is why this album was such a revelation for me - the Ramones have so many great tracks and this is fairly exhaustive exploration of their entire career. It isn't just a two disc set, but with the band's propensity for recording tracks that seem to average 2:30 in length, they squeeze 58 songs in.

This volume of songs would ordinarily have me seeing red, and truth be told I could probably trim out 10 or 15 of the more average tracks. Still, that would leave a minimum of 43 songs, all strong. As I listened to this record again, it sunk in just what a major musical influence the Ramones are.

With the record spanning their twenty year career, you also get to witness the evolution of their musical prowess, from their pretty messy sounding music playing in 1975 all the way through serious proficiency by the end.

For me, the Ramones are at their best when they are in full punk mode, singing about having a bad attitude or engaging in some form of disturbing behaviour. "Now I Wanna Sniff Some Glue", "Gimme Gimme Shock Treatment" and "I Just Wanna Have Something To Do" all come to mind, but I could easily name ten others just as good. They are the unabashed voice not just for the disaffected youth of their time, but for the downright outcasts as well.

What surprised me a bit more (although hardly a revelation for hard core Ramones fans, I'm sure) was the ease with which they slide into the other sounds of rock n' roll, like beach-bum music and even more generic pop that is very reminscent of early sixties music.

As an early punk act, these other sounds not only show their own influences, they also serve as a bridge to explain part of the origins of punk; that these bands were taking a familiar sound, but infusing it with some genuine anger and power chords.

While I prefer their early stuff to their eighties releases, even the latter has plenty to be proud of, and I found myself enjoying a lot of later songs I don't listen to nearly as often. These tracks are current to their times, but never lose the unique sound of the Ramones.

I really enjoyed their "punkification" of the 1992 Tom Waits' song, "I Don't Wanna Grow Up." I don't know if the Ramones were attracted to this song because it had "Wanna" in the title, but I really like their take - very different, but also very true to the song's intent. They also do great remakes of "California Sun" and "Surfin' Bird" on this record that I prefer to the originals.

But for a moment let's forget about all the influences they took in, and let's forget about all the bands they in turn so deeply affected. The Ramones rock.

Best tracks: Many - but here's more than a few: Blitzkrieg Bop, Beat on The Brat, I Wanna Be Your Boyfriend, Now I Wanna Sniff Some Glue, Swallow My Pride, Sheena Is A Punk Rocker, Here Today - Gone Tomorrow, Surfin' Bird, I Don't Care, I Just Wanna Have Somethin' To Do, I Wanna Be Sedated, I Want You Around, Danny Says, The KKK Took My Baby Away, It's Not My Place in the 9 to 5 World, I'm Not Afraid of Life, I Don't Wanna Live This Life, Tomorrow She Goes Away, I Don't Wanna Grow Up, R.A.M.O.N.E.S.

CD Odyssey Disc 167: Mother Mother

And so we bid a fond adieu to swing, or ragtime, or whatever the kids are calling it these days.

Instead, we get to the first of my birthday CDs! I was fortunate to get a number of CDs for my birthday, this is one of three from my friends Joel and Sherylyn - thanks, guys! I was tempted to review one of these right away, but I decided to trust to the dice and wait for one to pop up. Here is the first to appear.

Disc 167 is...O My Heart
Artist: Mother Mother

Year of Release: 2005

What’s Up With The Cover?: A fishhead, hooked. This would go with the opening lyric of the first song, "O my heart, it's a fish out of water." Here we have a fish out of water. I like this cover for its simplicity and for its strong imagery that relates to what we can expect on the record. That said, I'm not a fan of the symbol for heart in place of the word (more on my prescriptionist approach to spelling to follow).

How I Came To Know It: As I noted in the teaser, I was introduced to Mother Mother by Joel and Sherylyn only a couple months ago. The Odyssey is reinforcing my belief that the best way to hear about new music is through other people who love music. The radio? Not so much...

How It Stacks Up: I only have this one Mother Mother album, so I can't compare. I believe they have one other record, but I haven't heard it. Apparently one of their albums is 'really out there' but I'm not sure if this is it, or its the other one.

Rating: 3 stars but almost 4.

J&S introduced me to three acts this year - Mother Mother, Dan Mangan, and Gogol Bordello. Of the three, Mother Mother is my least favourite, but don't let that fool you - I like it a lot - it is just I liked the other two that much more.

This record grew on me with each listen. If you don't know, when I first get a new record, I listen to it at least three times right through (although not necessarily in succession) before I add it to my library. That way I get a good feel for it despite the ongoing flow of music through my house. The library in my place is not a musty place though - I'm always digging something out I haven't heard in a while - when the Odyssey isn't dictating, of course.

This record is a strange mix of mournful indie-pop like the Decemberists, or even Rilo Kiley, blended with a disco-pop kind of sound that had me thinking about Scissor Sisters on more than one occasion.

As I've said, this makes for a pretty interesting concoction, and it takes a few listens to get an ear for it. When I rolled it for the review yesterday, I actually kept it in the car for a second listen today partly for this reason. The other reason I did so is it is a great driving record, and I was enjoying it in the sunny drive home too much to cut it short after one day.

In terms of my reaction to it, I had a Decemberists flashback, in that I enjoyed the structure of the songs, and the lyrics are clever and often thought-provoking. At the same time, it has that indie challenge of being emotionally disconnected at times. This works better with some tunes than others, principally based on the topic of the song.

For songs like "O My Heart" or "Ghosting" that aim to express emotional disconnect, or a longing to belong, while remaining apart, this style works very well, and both these songs became quick favourites. For songs that need a little more connection down in the gut like "Burning Pile" or "Try To Change" it doesn't work as well, and so these tracks didn't resonate the same way.

I particularly like these lyrics from "Ghosting":

"I won’t put white into your hair
I won’t make noises in your stairs
I will be kind and I’ll be sweet
If you’ll stop staring straight through me.

And this is why I have decided
To pull these old white sheets from my head
I’ll leave them folded neat and tidy
So that you’ll know I’m out of hiding.

And this is why I have decided
To leave your house and home unhaunted
You don’t need poltergeists for sidekicks
You don’t need treats and you don’t need tricks."

This song reminds me of Blue Rodeo's "Disappear" from their album, Tremolo, or any number of other great songs about a love that has faded into nothing but an apparition.

Mother Mother has quite a few nice turns of phrase, and another favourite is found in "Wrecking Ball" which captures rage thusly:

"I am unruly in the stands
I am a rock on top of the sand
I am a fist among the hands
I break things just because I can."

This is one of my favourite songs on the record, although I'll admit I wish it were just a little bit more...angry...in its delivery. It would be interested to hear this song in a punk format.

Mother Mother are a Canadian band, and local to the west coast, which I dig, even though I try not to be a homer. On this front I have one minor quibble - which is that one of their songs is called "Arms Tonite" Um...that really should be "Arms Tonight" for us north-of-the-border crowd.

Overall, Mother Mother is a great discovery. Indie is not the sweet spot of my music listening ear, and for this reason those bands that reach me are that much more precious in the finding. Mother Mother more than qualifies on this front, and I'm glad to have had a chance to hear their stuff. It's good stuff.

Best tracks: O My Heart, Body of Years, Ghosting, Hay Loft, Wrecking Ball

CD Odyssey Disc 166: Frank Sinatra

After a few days on hiatus (I was out of town visiting family), I had some errands to run in town on my own, and was able to squeeze in another record on the resulting drive.

The Odyssey decided to pick up right where it left off. Where we left off was that Queen of Crooners, Billie Holliday - we return with the King of Crooners - Frank Sinatra.

Disc 166 is...Greatest Hits Vol. 2
Artist: Frank Sinatra

Year of Release: 1972

What’s Up With The Cover?: Give yourself a hand, Frank.

How I Came To Know It: I explained way back at Disc 19 how I came to know Frank Sinatra, but since it's been a while I'll recap. I was into swing music in the mid-nineties, and my buddy Andrew is a big Frank Sinatra fan, and helped hook me on him.

How It Stacks Up: This is a best of album, so it doesn't really stack up. Best ofs have an unfair advantage I've detailed many times during the Odyssey. I will say I have Volume 1 of this series as well, and I probably slightly prefer Volume 1, but they're both great.

Rating: Best of albums don't get a rating. That is ridiculous! I'd much rather have original Sinatra albums, but this is what is out there these days, so this is what I've got. Besides, I'm not so into Frank any more to search out a bunch of albums.

I like that this Greatest Hits package only has eleven tracks. It is just the right length to leave you wanting more.

As I alluded in the teaser, Sinatra is the world's greatest crooner. The man can belt out a tune, and his catalogue of songs is impressive and memorable.

This album features one of the two songs I want played one day (in the distant future) at my funeral; "My Way". The other song is "Barrett's Privateers", and yes I expect you all to sing along. I've been thinking about adding some mournful Townes Van Zandt song in there as well - maybe "High, Low and In Between."

But back to the record - which is a great collection of songs for singing along. Sinatra's voice is perfect to listen to, and I think he actually helps you sound more in tune as well. His voice is so perfect, it is some kind of superpower. I'm sure if he'd met that crazy Cardinal played by Rutger Hauer in "Sin City", the Cardinal would've let Sinatra eat people too if that's what he'd wanted to.

Of course, Frank would have been a lot easier to please than the creepy cannibal kid that Cardinal whats-his-face keeps on the family farm. Frank would've settled for an unlimited supply of martinis at Chili's Bar, and an appreciative crowd. And maybe Ava Gardner's new phone number

Frank's days of chasing after Ava and drinking martinis at Chili's are sadly over, but he's still got an appreciative crowd - and I'm part of it.

Best tracks: My Way, Cycles, Love's Been Good To Me, Goin' Out Of My Head.

CD Odyssey Disc 165: Billie Holiday

Well, it was a hard day today, without a lot of good news, but at least it ended with beers with friends and a music review, so I'll focus on the positive.

The beers were good (Back Hand of God Stout), and the company excellent. Now, the review:

Disc 165 is...The Quintessential Billie Holliday, Vol. 5
Artist: Billie Holliday

Year of Release: 1938

What’s Up With The Cover?: It's a head shot of Billie Holliday. She's a fine looking woman, and I give this cover a thumbs up.

How I Came To Know It: I actually learned about Billie Holliday through a woman I used to date many years ago. She was a huge fan, and had Billie on vinyl. I didn't buy any until many years later, but that was the kernel of the idea.

How It Stacks Up: I have three Billie Holliday albums - all from this nine disc set called "The Quintessential Billie Holiday". I have Volumes 4, 5, and 9. I'm not even sure on what basis I chose them. I think I planned to buy them all at some point, but never got that far. Anyway, since they're all 'best ofs' they don't stack up, so that's that.

Rating: Can't really rate a best of - that's the way of things, even with thirties music where getting an original album is pretty hard. I can't go around changing the rules at this point, over 150 discs in.

Another jazz album that I can't get an emotional reaction to - this time the late, great Billie Holliday.

Her talent is undeniable, and I think of all the jazz crooners, she's my favourite. I like the way she phrases a line, playing with her timing ever so slightly but always perfectly in tune.

The music didn't really grab me though, and so my favourite tracks tend to be more based on topic than tune. I enjoyed "He's Funny That Way" a song about a man in a bad relationship, and "Can't Help Lovin' Dat Man" a song about a woman in a bad relationship. And to break the theme, a song called "Now They Call it Swing", a song about how people think they've invented new music called 'swing' (in the thirties) but it is just ragtime re-imagined. I liked the frozen-in-time bit of musical history, when Swing was considered the upstart new kid on the block.

Holliday is a great vocalist, and it did give me a relaxed laid back vibe in the car the last two days, but I wasn't truly feeling it. It is almost like she is a bit detached from her own performance. It could be the very antiquated production, or it could be one of those infamous CDs made in the late eighties, where they were still perfecting the technology, and a lot of old music was tranferred poorly to the new format.

Or - I shudder to think - it could just be the nature of jazz - emotionally detached, and so overly clever, it can even suck the fun out of the brilliant Billie Holliday. Ah, Thelonious Monk, that you should prove to be the exception to the rule, rather than the rule itself.

So Billie Holliday - competent jazz that has stood the test of time...but still jazz.

Best tracks: He's Funny That Way, Can't Help Lovin' Dat Man, Now They Call It Swing

CD Odyssey Disc 164: Alice Cooper

I had hoped to do a post over the weekend of my latest miniature, a sphinx, but I got bogged down in painting the feathers. It was a real, "Leaf by Niggle" moment.

But enough obscure Tolkien references - let's get right back to a Creative Maelstrom standard: reviewing Alice Cooper records.

Disc 164 is...Along Came A Spider
Artist: Alice Cooper

Year of Release: 2008

What’s Up With The Cover?: Proof that just because you are over sixty, doesn't mean you can't look creepy as all hell. Alice - you've still go it. I really like the new eye makeup - Sheila did the same style when we went in costume to see Alice on this tour.

How I Came To Know It: Already an established Alice Cooper fan since the tender age of five, this was just me buying his latest record when it came out. It's been two years, Alice - time for another record perhaps?

How It Stacks Up: I have twenty five Alice Cooper studio albums, plus a weird compilation of rare stuff. "Along Came A Spider" isn't the best, and given the stiff competition, it isn't even probably top half, but it holds its own. I'll say...sixteenth...or so.

Rating: 3 stars.

I have a soft spot for this album, which represents a mini-comeback in the Alice Cooper discography after fairly disappointing records in 2003 (Eyes of Alice Cooper) and 2005 (Dirty Diamonds). It is his best record since 2001's "Dragontown".

"Dragontown" was widely regarded as the last in a loose trilogy of records about the collapse of civilization into evil. As a solo artist, Cooper is often at his best when exploring a concept (usually something disturbing).

"Along Came A Spider" is exactly this - it is a concept album through and through, and as usual the theme aims to shock.

This time, Cooper takes on the role of a serial killer who calls himself "The Spider", and his songs represent the diary of his crimes. This particular criminal's modus operandi kills women, wraps them up in silk and chops off one of their legs. We learn near the end of the album that he is collecting one leg from each victim until he has eight legs - like a spider.

The album isn't gratuitously violent by metal standards, but it is highly suggestive of violence with an unhealthy helping of sexual tension. As usual, Cooper is the master of creating a character who is both troubled and multi-dimensional. For example on this listen, I noted these lyrics in "Catch Me If You Can":

"Which limb will I choose
Whice one gets sawed in half
Which leg would you lose
To an arachnophobic psycopath."

Cooper's villain is an arachnaphobe. Yet he calls himself a spider, and one can conclude that by collecting legs, he is attempting some form of transformation into one. Maybe this is just the way the mentally unbalanced 'Spider' attempts to deal with his own deepest fears. You might be tempted to think it is just a throw away rhyme, but if you'd listened to as much Alice Cooper as I have, you'd know better. The guy crafts his songs very carefully.

Another favourite is "Vengeance Is Mine" which is driving traditional hard rock song that he delivered with ferocity at the concert we saw.

He also returns to previously visited themes of love twisted up with murder, with "Wrapped In Silk" which has heavy wedding-dress overtones (also seen in 1987's "Roses on White Lace"), and the slower love/murder anthem, "Killed By Love":

"I've got more to lose
More to lose than you
Cause I'm the only one
In love between us two."

Here 'The Spider' claims that he is in greater danger than his proposed victim, because he's in love, while they are (presumably) 'just' frightened and horrified of him. Ah, Alice - you've got a rich and perverted imagination.

If you know anything about Alice Cooper, you probably know that he's one of the straightest arrows in rock and roll. He hasn't had a drink in almost thirty years, never did drugs, and is a devout Christian married to a preacher's daughter.

Knowing this you might be tempted to think less of him exploring these dark themes, but don't. He digs down deep and tells a troubled tale as well as he ever did.

Musically, this album isn't all that innovative, but it is well played, well written and well produced. He's still got it.

Best tracks: Vengeance Is Mine, (In Touch With) Your Feminine Side, Wrapped In Silk, Killed By Love, Salvation.

CD Odyssey Disc 163: One

The CD Odyssey is in one of its "all over the map" phases again, and it has landed upon one of the only reggae records in my collection. Not true reggae, really, more of a reggae/pop/rock thing going on.

Disc 163 is...Smokin' The Goats

Artist: One

Year of Release: 1994

What’s Up With The Cover?: I believe this is some sort of tie-dye feeling colour scheme, with a close up graphic of a goat's horn (no doubt for smokin' as per the title). I think up close the goat's horn looks like the end of a rattlesnake's tail.

How I Came To Know It: I heard about this album through my friend, Kelly, who brought it over a couple of times. Kelly was into reggae back in 1994 as I recall. Nowadays he's more for the death metal. I'd say something nasty here, but I've got enough of my own musical skeletons, without shakin' anyone else's bones.

How It Stacks Up: I've only got this one "One" album. I don't know if they have any more. I think they are a pretty obscure Canadian band - I'm not even sure if they are still together.

Rating: 3 stars.

This was a fun album to drive home to with the top down. There is something about a reggae beat that makes you relax and feel summery. I relaxed, kicked back and sang along from time to time. Don't worry though, I kept my eye on the road, friends. Enra-ha and all that.

This album's best song is a five star bubble-gum pop classic, "Wide Load". It is a playful track about heavy girls - the best since Queen's "Fat Bottomed Girls". It incorporates pretty much every goofy one-liner joke on the subject (She's got more rolls than a bakery shop/you'd be crushed if she were on top," etc.) but manages to avoid being mean. In fact, the final stanza is all about how we overemphasize someone's weight, and how we oughtta cut that out.

Of course, you could argue that is a bit rich after all the joke lines that fill the first two thirds of the song, but it just never manages to cross the line, despite all evidence to the contrary. I think it must be the reggae beat - it just makes everything seem so much more relaxed and uncomplicated.

The other tracks aren't as memorable, but there are quite a few good ones, and no real stinkers. The album is just a good groove, and the band even manages to sneak in some serious topics into the discussion, including that ubiquitous topic for all reggae music - legalizing marijuana. They also have a couple of great songs decrying rude people ("Bully On the Dance Floor", "So Rude"). These appealed to me, as I can't stand rude people. For starters - tailgaters and people who talk at the movie theatre.

Um...cut that out, rude people!

Mostly though, the album is just a good groove. Fun for hangin' out, or maybe a little goofy dancing commonly associated with outdoor concerts. I'm sure I've danced that way to it, but mercifully in the privacy of my own home.

As an aside, this album was up for a 1995 Juno (it didn't win). That year, Celine Dion's "Colour of My Love" beat out Blue Rodeo's "Five Days in July" and Pearl Jam's "Vs." in a couple of different categories.

Wow - some facts are so awful, not even a reggae beat can make it seem OK.

In summary, if you want a fun summer album that'll make you feel like relaxing on the beach, or driving with the top down, this is a good one.

Best tracks: Wide Load, 54-46, Bully On the Dance Floor, Kind Buds, So Rude, Magdelin

CD Odyssey Disc 162: Stan Rogers

A good, long run has been brought to a halt by a mediocre album.

Disc 162 is...Turnaround
Artist: Stan Rogers

Year of Release: 1978

What’s Up With The Cover?: A classically bad folk album cover. Stan sits in a dingy looking room with bric-a-brac on the wall. Why is it that the last album featuring a similar picture for Lucinda Williams was so cool, and this picture is so lame. Quality, my friends, quality.

How I Came To Know It: As I explained when I reviewed the live album, "Home in Halifax" back at Disc 100, I discovered Stan Rogers through a pub in Ottawa called the Heart & Crown. This particular album was me looking for more music beyond the 'best of' feel of "Home In Halifax". I chose it because it only had one song that I knew from my other album, "Bluenose".

How It Stacks Up: Technically this is my only Stan Rogers studio album (I believe he only has three). Of the one I have, I'd put this one last - I'd rather listen to the live album.

Rating: 2 stars.

Followers of this blog will know that I am not too keen on 'best of's even though I've reviewed a few, and there are more to come. This is because I am a devotee of the album as a work of art beyond simply a collection of songs.

Also, once you buy a 'best of' there is that trap of not buying anything else, because every studio album you pick up will have a couple of tracks you've already got. It takes a bit of dedication to break through this inertia.

I recently succeeded at it with Gordon Lightfoot, buying a bunch of his studio albums, and then parting ways with the awfully produced "Gord's Gold Vol. 2". I also recently gave up on the Eurythmics Greatest Hits album after I finished my collection of their studio work, and liked what I heard.

That is what makes this review so painful, because I'm having the opposite experience. "Turnaround" makes me realize I'd rather own a 'best of' instead of this record, which has a lot of what sounds like filler. The only song that is a real keeper is "Bluenose", which is a song in honour of the famous schooner of that name that fished cod and raced off Canada's east coast. I've already got that one on the live record, and I actually prefer that version anyway.

The other songs are for the most part fairly...boring. Usually, I find a real attraction to folk music because it takes the lives of ordinary people ('folk') and makes us appreciate them, and care about their stories.

The stories that should fit that bill are on this album, but they aren't good enough to make me get involved like I usually do. I found myself thinking about all the great blue-collar anthems on "Home in Halifax" like "The Idiot" or "Field Behind the Plow" and finding this album wanting by comparison.

When he tries to branch out and incorporate other musical styles like gospel in "Try Like the Devil" it just sounds out of place. Again, I found myself making unflattering comparisons with artists like Lyle Lovett, who is a master of bringing gospel sounds into his music in just the right amount.

Finally, the production on "Turnaround" is really lacking. I realize that this was produced for record, and never remastered, but even when turned up, there were places where it is so quiet I had to strain too hard, only to be bowled over when Rogers' rich baritone hit full throttle. I can only assume it sounds markedly better when heard on the original vinyl (what doesn't?).

I've been wanting to purchase another Rogers album, given the number of other good songs on "Home In Halifax." I hope his other two records are a lot better, and I still really want a copy of "Northwest Passage" because I love that song, but after listening to "Turnaround" I'm a little gunshy.

"Turnaround" it is the exception that proves the rule. Instead of buying more studio albums, I'm going to part with this one, and stick with my greatest hits package for the time being. Wow - I think I need a shower after typing that sentence.

I still love you Stan, and I admire everything you've done for the Canadian folk movement, which is considerable. I just didn't love this record, and I'm not gonna pretend I did just for the sake of my preconceived notions.

Best tracks: Bluenose

CD Odyssey Disc 161: Lucinda Williams

The strong albums continue - this one is the third straight with some harmonica (although not nearly as much as the previous two).

This disc is an artist that is one of my great musical discoveries of this decade.

Disc 161 is...World Without Tears
Artist: Lucinda Williams

Year of Release: 2003

What’s Up With The Cover?: Lucinda stands in the middle of a dingy living room and takes her jacket off. Or puts it on - it is kind of hard to tell. I like this cover because it evokes how grimy, yet sexy and real Lucinda's music is.

How I Came To Know It: I was drilling through her collection, but it was still the early stages. I believe I owned "Sweet Old World" and "Car Wheels on a Gravel Road" and this was the third Lucinda Williams album I heard - probably five or six years ago or so.

How It Stacks Up: There are no bad Lucinda albums, and of her last seven, competition is stiff. I have nine of her albums. In my review for her self titled album back at Disc 37, I put her albums into three 'tiers' so I'll stick to that, even though technically this album is a "World Without Tears." Get it? Get it? Man, I crack myself up.

Anyway, "World Without Tears" is top tier again - probably 3rd best in the collection overall.

Rating: 5 stars.

This album, which came out in 2003 is a departure from her earlier work, in that it has a bit more of a rock edge to the music. She adds this element in without losing the blues and folk aspects of her music that made her famous. Like any great artist that sticks around for a while, Lucinda is always reinventing herself.

The strong rock overtones are most prevalent in "Real Live Bleeding Fingers And Broken Guitar Strings". Ordinarily, an overlong song title like this would be cause for a rant, but it is such a great song, I'm giving her a pass. It is a song about rock and roll, about idolizing the rock and roll lifestyle along with the music. As usual, Lucinda immerses herself into her topic so deeply you feel you are living it as she sings.

This album features one of the sexiest songs ever recorded, ("Righteously") as well as two of the the harshest break up songs on a single record, "Minneapolis" and "Those Three Days". Since "Righteously" will just get me all excited at a time I need to write a music review, I'll share some of the lines from "Those Three Days" instead:

"You say there's always gonna be this thing
Between us days are filled with dreams
Scorpions crawl across my screen
Make their homes beneath my skin
Underneath my dress stick their tongues
Bit through flesh down to the bone
And I have been so fuckin' alone
Since those three days."

"Did you only want me for those three days?
Did you only need me for those three days?
Did you love me forever
Just for those three days?"

Note to listeners: Have a weekend fling with Lucinda at your peril.

This album is so loaded with great lyrics, I find myself tempted to share half the liner notes, but experience teaches me reading them won't truly translate without Williams' lascivious vocal sandpaper. Instead, I'll sum up.

This record is a mix of personally painful experience through Lucinda Williams' many relationships. While I've focused on her relationships with lovers, the record also delves into the nature of fame, and how that affects an artist's relationship with themselves. It's a record that does a lot of looking inside - even at the unhappy parts.

Amidst all this doom and gloom, the title track on the record "World Without Tears" provides this bit of insightful context to life's troubles:

"If we lived in a world without tears
How would bruises find
The face to lie upon
How would scars find skin
To etch themselves into
How would broken find the bones."

Hey - I said it would be insightful, not uplifting. The record isn't uplifting, but it is as honest as music gets. Throughout this record, Williams is artistically ambitious and fearless in her willingness to show her vulnerabilities through her art.

Best tracks: Every track is worth listening to, but I'll single out Righteously, Ventura, Real Live Bleeding Fingers and Broken Guitar Strings, Those Three Days, Sweet Side, Minneapolis, World Without Tears - that's over half the album, but hey, I can't cut any further.