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eMusic Pick of the Day - Transatlantic Ping Pong

“Transatlantic Ping Pong” by GLENN TILBROOK 

A touch of the old Squeeze magic graces this album as Tilbrook takes a solo turn with “Transatlantic Ping Pong”.

As the frontman and half of Squeeze, Tilbrook is a master craftsman of the British pop/rock song. His melodies on this recent solo album are as strong as Squeeze’s quintessential 1980 hit “Pulling Mussels from a Shell” (check out the addictive “Untouchable” and the funky “Lost In Space”) and with well-orchestrated arrangements Tilbrook creates the classic drums-bass-guitar-organ-vocal sound that essentially defines the art of great British singer-songwriting handed down from Lennon and McCartney. Here, he’s comfortable enough to joke about somewhat pornographic references but also discusses more standard fare, like past lovers and present flames. It’s hard to create such fine performances and perfect melodies; Glen Tilbrook’s gift is that he makes great songwriting seem easy and effortless.

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eMusic Pick of the Day - Come Dancing with The Kinks

“Come Dancing with The Kinks” by THE KINKS 

A great package containing all the essential hits by The Kinks. If you don’t already have an album by the brothers Davies, then start with this one.

A Kinks-sized collection of Carter-era essentials from this truly classic rock band.
When the Kinks signed with Arista Records in 1976, Ray Davies effectively abandoned the village greens of Britain for the basketball arenas of America. For the next decade, the band’s theatrical concept albums took a back seat to sleek, radio-friendly slabs of mainstream rock that won the Kinks a new generation of Stateside fans, even as they alienated rock critics everywhere. While it lacked the timeless charm of the Kinks’ late-’60s work, their Arista period still produced some of Davies’ finest (and most underappreciated) songs, as evidenced by Come Dancing With the Kinks, a compilation of hits from 1977 to 1984.

Dated production values aside, “Full Moon,” “Misfits,” “A Rock N’ Roll Fantasy” and “Good Day” (in which Davies muses on romantic strife, nuclear holocaust and the death of actress Diana Dors) are among the most heartbreaking ballads in the Ray Davies canon. “Sleepwalker,” “Destroyer” and “Do It Again” rock harder than anything the Who or the Stones released in the same era; ditto for “Father Christmas,” possibly the angriest holiday song ever waxed. Throw in the glorious “Better Things,” a live “Lola” and the disco goof “(Wish I Could Fly Like) Superman”, and you’ve got a collection no true Kinks fan should be without.

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eMusic Pick of the Day - Karmacode

“Karmacode” by LACUNA COIL

Lacuna Coil was Evanesense before Evanesence. Their exotic melodies and driving hard rock rhythms are truly hypnotic.

Many fans of prog metal would like to believe that once upon a time, the dramatic mood and operatic self-importance that define the genre came as a natural result of the music’s compositional influences, and only recently has the over-the-top tone taken priority over musical quality. Whether or not such a magical time ever really existed, Lacuna Coil hearkens back to those possibly imaginary days with their 2006 release Karmacode. The Italian sextet’s songwriting and instrumentation directly reflect the original naming of metal as a separate mineral from rock & roll, with a seamless blend of classical music and modern rock. As a result, the disc seems refreshingly self-possessed. The band doesn’t intentionally shy away from the stylistic qualifiers that have come to exemplify progressive metal, it just allows the theatrical elements to emerge on their own. The album’s goth voice, for instance, is readily apparent without desperate or forced attempts at spooky compositions, because it shines through in truly inspired melodies that just happen to be ethereal, exotic, and chilling. Likewise, Karmacode achieves communion with its power metal roots in songs written in an epic fashion, from the bottom up rather than through lyrics about dragons and elves. Karmacode seems immune to even the gloomier and more widespread trappings of metal, expressing emotion in ways that sound almost freakishly earnest and genuine. In addition to all of this potentially boring integrity, the disc is highly listenable. Though obviously unconcerned with finding a place in the mainstream, this release just as cool and catchy as anything by Evanescence, a band who took the causal switch between tone and musicality one step further, creating a pop version of an already diluted brand of metal. At least some generous chunk of the record’s compelling nature can be attributed to singer Cristina Scabbia’s enthralling timbre — her reverberating call over the repeating choruses toward the end of the group’s “Enjoy the Silence” cover makes this disc worth the price of purchase. The frontwoman was born with a strong, unique voice and would probably create bizarrely charismatic renditions of show tunes if that was her chosen art. Lucky for prog fans, her interests lie far from Broadway and with a style to which she brings dexterous technical skill, as well as a refreshing delivery. Despite Scabbia’s attention-grabbing sound and stage presence, the album still has each bandmember to thank for its success, not to mention producer Waldemar Sorychta; they have done their jobs so deftly that one could easily opt out of paying attention to the sophisticated and complex nature of their creation and just enjoy the ride.

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eMusic Pick of the Day - X Tracks

“X Tracks: Best of Andy Summers” by ANDY SUMMERS

Police guitarist extrordinaire, Andy Summers shows off his jazz leanings. Though I’m generally not a fan of “best of” collections, this album has a nice continuity to it and shows off a lot of serious chops.

X Tracks: Best of Andy Summers covers the years 1997-2002, essentially his stint at RCA. If you haven’t followed his post-Police career, you might be somewhat surprised at his jazz leanings. Texturally, he flirts with smooth jazz at times, but his penchant for dissonance keeps him out of that camp. There are a handful of original compositions alongside pieces by Monk, Mingus, and Wayne Shorter. Q-Tip’s reading from Mingus’ Beneath the Underdog on “Goodbye Porkpie Hat” does little to add to the tune, beyond differentiating it from Jeff Beck’s version, but the way Summers handles Mingus’ “Boogie Stop Shuffle” with an added horn section is great. Similarly, Sting’s turn on vocals on the overdone “‘Round Midnight” is serviceable, but the way Summers digs into Monk’s bag of dissonance and crazy intervals on “Think of One” shows a deep understanding and feel for Monk’s music. The Wayne Shorter tunes are beautifully done, and the album opens and closes with Summers in jazz power-trio mode, rocking things up just a bit (even quoting “White Room” in “Big Thing”). X Tracks: Best of Andy Summers is a good summary of his post-Private Music/Windham Hill years, and would make a fine starting place for someone interested in what Summers has been up to since the Police.

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eMusic Pick of the Day - Memory Almost Full

“Memory Almost Full” by PAUL MCCARTNEY

Possibly the best McCartney solo album in a long while, “Memory Almost Full” harkens back to a younger, more melodic (some would say slightly Beatle-esque) sound.

Thanks to a song he wrote when he was in his twenties, there must have been no human being in history as self-conscious about turning 64 as Paul McCartney. Life hardly ever works out the way you thought it would, and sure enough his 65th year was hardly the vision of senescent domestic tranquility that he’d imagined. So McCartney did what any good artist would do: He made an album about it. As Memory Almost Full amply attests, when you’re 64, breakin’ up is still hard to do, but you’re also not too old for love to put a spring in your step. But most of all, when you’re 64, it’s a sure bet that you don’t have all that much time left, and time itself is going faster and faster.

McCartney has reached a point in life where he’s OK with wrapping his memories around him — and us — like a comfy old coat. So while a lot of this masterly, arty and yet unpretentious pop music is as fresh as he’s ever done, there are also unabashed musical hints and references, particularly to Abbey Road, the early solo albums and prime-slice Wings; long-time fans will have a field day. Sometimes it’s undeniably gloomy: McCartney’s typically obtuse rockers (”Only Mama Knows,” the Pink Floyd-y “House of Wax”) brim with dread and even the ostensibly whimsical “Mr. Bellamy” has a dark side. But much of the album is emotionally affecting without getting overly sentimental — Memory Almost Full examines the past but not with the corny nostalgia of songs like “Penny Lane” and “Your Mother Should Know.” This time, it’s done with the benefit of actual age and hard-won wisdom.

McCartney recorded the album over a span of three and a half years with co-producer David Kahne (the Bangles, Tony Bennett, the Strokes), and it’s an amalgam of the raw and the cooked — plenty of fuzz and home-brewed performances, and yet meticulously crafted, with stacked vocal harmonies, sophisticated string arrangements, impeccable musicianship. And that’s all great, but the wonderful thing about it is, McCartney actually has something to say. For years, the billionaire rock icon, blissfully wedded to the love of his life, seemed so insular and indulged that there was little grist for his songwriting mill. But the events of the past ten years have left him well gristed — he’s also working hard to curtail his hankering for the mawkish and the treacly. Not coincidentally, he’s made much more spontaneous, creative and compelling music ever since 1997’s Flaming Pie, made as his beloved wife Linda was dying of cancer.

Opener “Dance Tonight” is a folksy stomp, an invitation to a party delivered in prototypical dance-music terms (“Everybody gonna dance tonight / Everybody gonna feel all right”), and yet it comes off wistful, almost melancholic, and it’s not just because of the minor key or the mandolins — it’s actually a bit of foreshadowing, and later on we’ll learn the implications of partying at Paul’s place. It’s really “Ever Present Past” that sets the theme: In search of lost time. “I hope it isn’t too late/ searching for the time that has gone so fast/ The time that I thought would last,” McCartney sings, still preternaturally boyish. The synthetic hurdy-gurdy feeling of the track reminds of XTC’s 1989 Oranges and Lemons while the keening one-note guitar lick recalls Guided by Voices; then again, both of those bands can sound an awful lot like… Paul McCartney.

The album’s long gestation would probably explain why there are both love songs and break-up songs here. The gospel-flavored “Gratitude,” with McCartney in full-on soul singer mode over resounding piano chords and a deliberate Ringo-esque chug, would seem to be about Heather Mills: “I was living with a memory,” he testifies, “But my cold and lonely nights ended when you sheltered me.” (Then again, the song seems to be as much about McCartney simply savoring singing the word “gratitude.”) Likewise, there’s “See Your Sunshine,” an unlikely love song to sing, much less write, in the midst of such a toxic clash; it’s a bit saccharine, but hats off to him for keeping it on the album (even if a cynic might presume it a calculated act of spin control or a way of mollifying a legal adversary). But then there’s “You Tell Me,” a ballad recalling idyllic days gone by in a series of questions like “When was that summer when the skies were blue/ The bright red cardinal flew down from his tree,” each ending with a withering “You tell me.” Conveyed with the sweetest bitterness, it packs all the emotional whiplash of having something very good turn terribly sour, and it’s kind of devastating.

McCartney gets back to contemplating mortality in a suite of songs (sound familiar?) near the end of the album. “Vintage Clothes” offers seemingly contradictory advice: “What went out is coming back/ Don’t live in the past, don’t hold on to something that’s changing fast” and the arrangement, channel-changing from Carole King-like pop to haunting, jazzy clutter to an ELO-like middle eight follows the advice. The straightforwardly autobiographical “That Was Me” rocks an irresistibly jaunty swing, summoning up scenes from boyhood (”at the Scout camp, in the school play”) and beyond (”Merseybeatin’ with the band”). It really nails that feeling when, once you’ve lived long enough, you begin to have the strange sensation of looking back on your youth and feeling as if that was a different person, even though life is a seamless continuum. For McCartney, it’s the odd, probably mindblowing, realization that that overachieving moptop was “the same me that stands here now.” Of course, McCartney’s life is truly phenomenal, but he makes being a Beatle into a good for metaphor for any life lived, painted in with achievements and experiences.

“The End of the End” specifies how his memorial should be conducted — with jokes, stories and music — and that he’ll be going to a “much better place — no reason to cry.” It’s about as maudlin as it gets here, and yet it’s absolutely moving, watching McCartney put on his brave face. There’s a little whistling solo, but is he whistling for joy or whistling in the dark?

Strangely, it doesn’t end there, on that natural note of finality. With its steady eighth-note piano pulse and offbeat guitar skronks, aptly titled rocker “Nod Your Head” sounds like Sir Paul has been grooving on Spoon’s Gimme Fiction, but then it’s off to a stomping, “Kashmir”-like groove and squalling, dissonant guitars. As a coda, it’s on a par with jarring non sequiturs like “Her Majesty” from Abbey Road or the infamous run-out groove of Sgt. Pepper.

McCartney has dodged the question, but “memory almost full” happens to be an anagram for “for my soulmate LLM,” or Linda Louise McCartney, an almost unbearably poignant fact. It also may be the only real reference to the turmoil surrounding his divorce; “memory almost full” means you have to delete something you don’t need so you can keep functioning — or maybe it’s that he feels he’s reached the point in life where memories are no longer created, only reviewed.

What’s coming around the bend? What’s it going to be like when it gets here? We look to friends and loved ones for clues, but we also look to artists. Countless others have reflected on life, loss and mortality since time immemorial, but Paul McCartney is on the cutting edge of exploring it on behalf of baby boomers (and the ensuing generation that perpetually gets caught in their massive slipstream), a group of people famously loathe to acknowledge their own middle age, much less senior citizenship. Memory Almost Full is not as deep as Dylan’s Time out of Mind, but it’s a hundred times as catchy. Even better, it follows an important rule: write about what you know. And what Paul McCartney knows now is something we’ll all find out for ourselves later, so pay heed.

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eMusic Pick of the Day - Code Fun

bestofemusic.com, code fun


No shirt or shoes required. Imagine the Ramones meets the Cars and you have Black Tie Review

Formed in 2003 by Pittsburgh natives and friends Anthony Badamo and Ian Glinka, Black Tie Revue had a variety of lineup changes (especially in the drumming department, where they saw no less than five different players before they issued their first EP), though the core lineup — singer/guitarist Badamo, bassist Matthew Hanzes, and guitarist John-Paul McCormick (who originally played keyboards); Glinka left in order to pursue a career with the national Democratic Party — did manage to remain the same. After the departure of Glinka in 2004, Jesse Ley joined Black Tie Revue on keyboards (prompting McCormick’s move) and the band (at this point with drummer Jackie Robin), who, with their mixture of Ramonesy chord structure and Cars- and Big Star-inspired melodies, had been creating a buzz for themselves in their native city, decided to self-release their three-song EP Introducing in early 2005. This was enough to get them on the docket for the SXSW Festival in Austin, despite a lack of label backing. Though BTR had plans for a full-length release later that year, more drumming changes, plus a signing to Gearhead, delayed that, and it wasn’t until spring of 2007, with Paul Felty on the kit, that their debut album, Code Fun, which contained all the songs from their EP plus seven new ones, came out.

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eMusic Pick of the Day - Sad Wings of Destiny

“Sad Wings of Destiny” by JUDAS PRIEST

Rob Halford’s vocals soar and tear through the melodies and the twin guitar assault of K.K. Downing and Glenn Tipton cut like a buzzsaw. Arguably, “Sad Wings of Destiny” is the greatest Judas Priest album ever.

After an inauspicious start, Judas Priest took heavy metal to a new level of precision and darkness with Sad Wings of Destiny, an epic album that balanced technical musicianship with take-no-prisoners brutality. The record opened with the textural nuances and complex guitar work of “Victim of Changes” which immediately shattered the stereotype of metal musician as unsophisticated rube. Tracks like “The Ripper” and “Tyrant” proved they could also destroy like unsophisticated rubes. Only Iron Maiden would have equal influence on the next decade of metal.

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eMusic Pick of the Day - Love Everybody


TPUSA is back and kicking it in the new millenium with more of their brand of stripped down, quirky and memorable rock.

Is Lump fast asleep, or rocking out with the band? The year: 1995. Mauled by the grunge animal, the nation embraces a different sound from Seattle — a new leadership — one with eight steel strings to its name and a clutch of songs about kitties, peaches, and lingering last in line for brains. The Presidents of the United States of America hit Mach 2 with their wry punkish platform, and rode it all the way to platinum before quietly disappearing. While the band’s sound had fit perfectly into the screwy ’90s, it was a novelty memory by the 21st century. Which is too bad, because 2000’s under-the-radar LP Freaked Out and Small was pretty damn good, and 2004’s Love Everybody is even better. A little older and rocking the family life, two-string “basitarist” Chris Ballew, guitarist Dave Dederer, and drummer Jason Finn have focused the beam of their wit laser on their tightest melodies yet. The sound’s as stripped down as it ever was — dry punk-derived chording with peppy basslines and consistently propulsive drumming. But the new songs’ chorus harmonies are more consistently inviting, and the occasional keyboard flourish keeps things interesting. The Presidents have also settled into a sort of sardonic humanism. They still write songs about animal eyes in the gooey darkness (”Munky River”). But “Zero Friction” considers a drum machine as a metaphor for the meaning of life, and “Poke and Destroy” celebrates little boys’ universal need to break stuff. “You gotta love everybody,” the opening title track directs, “and make ‘em feel good about themselves.” “Some Postman” is the perfect Presidents song, with its simply effective mix of acoustic and electric guitars and that energetic chorus. But it’s also a love song, its quirkiness fueled into clever lyrics about a long-distance relationship. Other Love Everybody highlights include the ruckus-raising “Clean Machine” (dig that fuzzy tone), the almost Spoon-sounding “Vestina,” and “Shreds of Boa,” which harks back to their 1995 style, but is just a stronger song all around. Love Everybody is an enjoyable and welcome return for the Presidents of the United States. As it turns out, the peaches are even sweeter on the other side.

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eMusic Pick of the Day - Body of Song

pchemusic.com - Bob Mould

“Body of Song” by BOB MOULD

Former Hüsker Dü frontman, Mould returns to rock with a strong collection of emotionally charged songs.

In 1998, after the release of his album The Last Dog and Pony Show, Bob Mould announced he was hanging up his electric guitar and exploring other musical avenues outside of rock & roll. More than a few fans expressed some trepidation about Mould’s career choice, and that buzz became a roar after Mould released Modulate in 2002, which found him diving head first into electronic music. At least in America, the vast majority of rock fans have not been able to come to terms with the rise of electronica, and regardless of the album’s virtues or flaws, few listeners were willing to look past the hard, kinetic surfaces of the music and give the songs a fair hearing. It would appear this prejudice did not escape Mould’s notice, as 2005’s Body of Song was widely hyped as Mould’s return to rock, complete with electric guitars and a live rhythm section. But a spin of the album suggests the album isn’t so much a step back to the sound he pioneered in Hüsker Dü and Sugar as an attempt to have things both ways. (The fact that Mould spins regularly at a dance club in Washington, D.C., suggests he hasn’t lost interest in electronic music as a creative form.) Many of the cuts on Body of Song sound as if Mould is still thinking club music, but is filtering it through the framework of a three-piece rock band; “(Shine Your) Light Love Hope,” “Always Tomorrow,” and “I Am Vision, I Am Sound” are dominated by echoed textures, lockstep rhythms, and vocoder-processed vocals that wouldn’t be out of place on a house track, but with a live drummer (Brendan Canty from Fugazi on most tracks, who is predictably excellent) and Mould adding a layer of guitar over the top. And while Mould frequently bellows his lyrics with an approximation of the fury of his best-known work, most of the songs on Body of Song deal with deeply problematic relationships and on paper speak more of sorrow, confusion, and misplaced hope than the rage suggested by the bitter wailing he uses to bring them across. Body of Song ultimately feels more like an attempt by Mould to please both his audience and himself than a coherent and confident effort; while it’s hardly a failure, it lacks the courage of the admittedly flawed Modulate while falling short of the power of his masterpieces with Sugar and Hüsker Dü, existing in a strange middle ground that doesn’t do this talented artist many favors, though there’s enough emotional resonance in quieter tunes such as “High Fidelity” and “Gauze of Friendship” to remind you he still has plenty to offer when he knows where he’s going.

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