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eMusic Pick of the Day: Let it Bleed

“Let it Bleed” by THE ROLLING STONES

Arguably one of the greatest rock albums ever, it’s now available on eMusic! Get it free with your trial membership!

On the very Sunday morning I sit down to write this review, there is on the cover of Parade, the inoffensive family supplement (”yummy no-guilt desserts”) that comes with the local paper, a familiar face grinning out at me from the cover: How Mick Jagger Still Gets What He Wants. Nearly 40 years after the Stones told us that we get what we need, it seems we still want and need them, or vice versa, and Let It Bleed is the reason why.

The album is one of a quartet of late ’60s and early ’70s Stones albums that have since passed into discographic legend, Beggar’s Banquet through Exile On Main Street, ushering in that moment when the Stones were not only a band, but a cultural touchstone, a call-to-arms and a repository for our collective sense of sin and retribution: “We all need someone we can bleed on,” Mick sings in the title cut, and the echoing need from “You Can’t Always Get…”, so coupled with want and desire and the toll exacted — in addiction, in death by misadventure, in riot and ruin and perhaps absolution — was the Stones’ bargain with the Devil.

Let It Bleed, released as 1969 shuddered the ’60s to a close, is the one that made it all possible, bridging the gap between the Brian Jones years (Jones himself would be found at the bottom of his swimming pool in July of 1969, only two months after leaving the Stones) and all that would come after. It was a critical juncture for many ’60s bands — even a primal force like the Beatles would not survive the decade; but the Stones, renewing their vows with the addition of guitarist Mick Taylor, who could be counted on to remain self-effacing, seemed to find a new resolve, and produced some of their best-remembered standards. They would always celebrate the blues — “Love in Vain” is one of the most affecting performances of those who would follow in the passway of Robert Johnson — but “Gimme Shelter” with its sense of impending maelstrom, and “Midnight Rambler” with its Hyde to Jagger’s Jekyll (and Richards’ Hekyll) and Bryon Berline’s sawing fiddle on “Country Honk” and Keith’s croaking lead vocal debut with “You Got the Silver” and Mick’s self-bemused “Monkey Man” and the holler-along “Live With Me…” Every cut a classic.

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eMusic Pick of the Day: Octane

“Octane” by SPOCK’S BEARD

Huge vocal harmonies and evocative themes make this a great find for prog rock fans.

Spock’s Beard return to the music stores with their first record since Light [Bonus Tracks] in June, 2004. It’s an odd package. There are two discs here; the first is the album Octane. The first seven tracks are a conceptual suite entitled “A Flash Before My Eyes,” based on a story by John Boegehold. It’s about the experiences of a man in the process of experiencing a car wreck as it happens and watching his life flash before him as it passes out of him. He recalls everything from his parents’ separation on Christmas, high-school football games and meeting his wife and creating a life with her. It all ends at the end of the flash. The overture, “Prelude to the Past,” is all big prog symphonic rock Former frontman and guitarist Neal Morse’s gigantic presence is still missed, but the ambition here is sweeping. Nonetheless, drummer and frontman Nick D’Virgilio is putting forth the effort and he has a compelling presence as a singer, but his lyrics aren’t yet there, they still tell more than show. The contrast between Boegehold’s narrative passages and the song lyrics that illustrate them is harsh. The music, while more “accessible” than in the past and harder in its rock-ist intentions, still has plenty of flair and verve though one does miss the wonderfully labyrinthine passages and surprises of yore. The remainder of disc one and disc two is a collection of “other” songs, unrelated to the suite. Of these, the instrumental “NWC” and “Watching the Tide” work best. There is also a promotional video at the end of the second disc that offers a rather irreverent view of the making of Octane.

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eMusic Pick of the Day: Age, Occupation

“Age, Occupation” by ARI SHINE

A great indie rock EP that definitely shines. “Crank it Out” is outstanding.

Indie rock singer/songwriter Ari Shine made his recorded debut with the EP Age/Occupation in 2006. After gaining critical acclaim from the likes of Time Out and The Village Voice, he embarked on a touring schedule that helped him develop a fan base in both the United States and abroad. In addition to winning a John Lennon Songwriting Contest award for co-writing the Gaby Moreno tune “Escondidos,” Shine’s work has also been featured in Veronica Mars, Kyle XY, Viva La Bam, and Dance Life. His debut album, A Force of One, was released on Canada’s Bongo Beat Records in July 2007.

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eMusic Pick of the Day: Ga Ga Ga Ga Ga

“Ga Ga Ga Ga Ga” by SPOON

David Lynch, Phil Spector, Billy Joel walk into a bar…

To call Ga Ga Ga Ga Ga one of the year’s two or three best rock albums is to overstate how much it sounds like a rock album. There’s no mistaking its imperturbable swagger and seething refrains for anything else — Spoon still knows how to write a song that could fit into each of rock’s past five decades without tipping toward any one in particular. But even songs on Ga Ga that traffic in guitars don’t sound like they were written with guitars in mind. Spoon sounds more interested now in drums and empty space, both of which sparkle and boom in ways that make singer Britt Daniel sound positively electrified to be in their presence.

The sparse and experimental lean of Ga Ga Ga Ga Ga places it closer to the group’s 2002 breakthrough Kill the Moonlight than its bash-minded follow-up Gimme Fiction. “Don’t Make Me a Target” opens on a note of resignation and rage, with portentous guitar and piano that build toward a sort of atonal rockabilly jam about two minutes in. From there, though, the album takes on an air of mystery with “The Ghost of You Lingers,” a gorgeous and terrifying ballad in which Daniel’s distended voice duels with blasts of static and more reverb than could ever sound earthly. The jarring tonal shift into “You Got Yr. Cherry Bomb” proves perverse but, as goes for most of Spoon’s moves at this point, not overly pleased with itself: After bells and slappy drums enter like Phil Spector as summoned by David Lynch, the buoyant tune takes over and lodges into that part of your brain where pleasurable pop hooks go and stay mum.

What sticks most on Ga Ga Ga Ga Ga is the grain and range of Daniel’s voice, which must have been miked a dozen different ways to capture his timbral moods in tracks as disparate as “Don’t You Evah” (Spoon’s most funky song yet, by a good measure) and “The Underdog” (Spoon’s most Billy Joel-like song yet, to the same degree). Nothing Daniel does has ever sounded labored, but Ga Ga Ga Ga Ga finds him and his band with a newly refined balance between craft and restraint.

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eMusic Pick of the Day: Over and Over

“Over and Over” by THE 88

No foolin’, this aptly named record by Hollywood’s The 88 will make you listen over and over and over…

L.A. power pop/rock never dies, it seems; it just slightly transmogrifies. So if the line of descent from Love to the Knack to Jellyfish to the 88 is more indirect and generalized than specific, the 88 are nonetheless heirs to a tradition, one that the band’s sophomore album does little to disrupt. Over and Over starts off with a clipped riff followed by Keith Slettedahl’s creamy/dreamy (and slight ghost of Marc Bolan) vocals, and by the time the band kicks in fully on “Hide Another Mistake,” the band’s many core strengths and unavoidable weakness — simply put, the 88 bring terribly little new to the table — are clear. Song for song, Over and Over is the bubblegum chewed because it’s so familiar rather than because it’s strikingly new: post-Beatles melodies here, glam swagger there, piano-led jauntiness courtesy of Adam Merrin everywhere (the unspoken roots of the band might actually be early Squeeze). That said, the members of the 88 are absolutely crackerjack at what they do, whether it’s the big beat stomp and wailed vocal break on “All ‘Cause of You” or the steady build in intensity of “Battle Scar,” each verse and chorus seeming more powerful than the previous. Ethan Allen’s production and engineering might just be the secret weapon throughout — he makes the rhythm section of Carlos Torres and Mark Vasapolli sound massive while never drowning out Merrin’s piano at the same time. The resultant balance of sound (and volume) makes for an immediately enjoyable listen, while the occasional curve balls add just enough variety as well — there are the unexpected percussion breaks on “Nobody Cares”; the near-epic wallop and slow, measured stomp of “Bowls”; the tender acoustic guitar and vocals of “You Belong to Me.” Over and Over won’t surprise anyone — but it entertains start to finish, flat out.

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eMusic Pick of the Day: Alpacas Orgling

“Alpacas Orgling” by L.E.O.

You will be stunned by both the production and songwriting on this album. One of my favorite records in a long time.

Alpacas Orgling is the sort of record that drives people who dislike the contemporary power pop underground scene absolutely out of their heads with rage. If those three letters look familiar, that’s entirely by design: LEO is an unabashed re-creation of the sound of vintage late-’70s Electric Light Orchestra on an indie rock budget. The album’s mastermind is Boston-based power popper Bleu McAuley, with key contributions from Mike Viola (formerly of the Candy Butchers), Papas Fritas’ Tony Goddess, Andy Sturmer of Jellyfish and members of Hanson, Chicago (!!) and Self. The ELO lifts are subtle but unmistakable, with direct nods to tunes like “Telephone Line” and “Mr. Blue Sky” mixed in with bits that cleverly nod to Jeff Lynne’s creamy pure pop goodness without actively ripping him off. It could possibly be the most clever album-length evocation of an established band’s sound since the Rutles. “But that’s all it is, right?” sneer the non-believers. “It’s nothing but a baldfaced ripoff of the sainted Jeff Lynne, and with a silly album title besides!” Well, there’s little defending the goofy album title other than the fact that it’s fun to say, but here’s the thing: Alpacas Orgling knocks McAuley’s polite, pedestrian solo albums into a cocked hat. In fact, with the possible exception of Papas Fritas’ unjustly overlooked second album, Helioself, a lost indie pop treasure of the late ’90s, Alpacas Orgling is the single best album any of its major participants have ever taken part in. And yes, that includes the hugely overrated Jellyfish, a band much more interesting in concept than in practice. Given the self-limiting task of channeling their own pop sensibilities through those of an earlier generation of craftsmen causes all concerned to step up their game: the songs are gorgeously arranged, with instantly memorable melodies and lyrics generally far less pretentious than the sort of claptrap Jeff Lynne himself often came up with. Of course, the most logical next step is for McAuley, Viola and company to take the lessons learned from this project back to their primary careers, but as long as one is clear on the album’s artistic intentions and is willing to approach this kind of wholesale imitation on its own playful level, this is an album any true lover of ’70s AM radio pop fluff should treasure.

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eMusic Pick of the Day: B-Sides and Rarities

“B-Sides and Rarities” by CAKE

Their cover of Sabbath’s “War Pigs” is worth the price of admission alone.

It’s just like Cake to eschew the typical compilation route, instead opting for a collection of “b-sides of rarities.” The group has consistently gone against the grain of popular opinion and won each and every time throughout their career. Here, the group tackles a number of covers that would seem to be impossible for one band to perform (Barry White’s “Never, Never Gonna Give You Up,” Buck Owens’ “Excuse Me, I Think I’ve Got a Heartache,” Frank Sinatra’s “Strangers in the Night”?!?!?) and pull them off without a hitch. It’s a testament to their versatility — and their resilience in the face of trends that have come and gone many times over — that Cake is still standing. And excelling.

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eMusic Pick of the Day: You Are All Diseased

“You Are All Diseased” by GEORGE CARLIN

You can find great comedy on eMusic and Carlin’s masterful observance of life’s little annoyances is entertainingly brilliant.

As the years progress, George Carlin only gets angrier — and, considering that the world is just getting more ridiculous, that may be the only response. Fortunately, his anger keeps him sharp, and that’s why he’s still fascinating and funny in 1999, when most of his peers have dried up. The key to his success is that he doesn’t continue to recycle his routines — he writes new material which illustrates that he’s not just a comedian, he’s a commentator. He tackles a number of subjects on You Are All Diseased, from familiar items like “Airport Security” to the silly cigar boom of the late ’90s, television, religion, and “American Bullshit.” Some of this is dead-on and some of it suffers from a delivery that is a bit too reminiscent of past routines, but it’s all entertaining and the best of it ranks with the best of his past work. Not many comedians could claim that their latter-day work is as good as the stuff that made their name, and that’s a strong testament to Carlin’s skills, talent and wit.

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eMusic Pick of the Day: Jennie Bomb


“Jennie Bomb” by SAHARA HOTNIGHTS

Don’t listen to this album in the car unless you’re ready to get a speeding ticket. Driving rock from cool chicks. Hotnights, indeed!

Swedish rock vamps Sahara Hotnights spent their teenage years discovering music and making a band. They obviously paid close attention to the raw form of those who came before: Chrissie Hynde, Joan Jett, and PJ Harvey. Sisters Jennie (guitar) and Johanna Asplund (bass), Josephine Forsman (drums), and Maria Andersson (vocals/guitar) eventually derived a ’70s-inspired, guitar-driven sound by the time they reached their twenties. They arrived in America in fall 2002 to release Jennie Bomb, and the timing was perfect. Pop kids were mad for the likes of the White Stripes, the Hives, and the Vines, but Sahara Hotnights gave the new millennium rock push a bit more swagger. Jennie Bomb is a punk-glam mix and it’s a heavy disposition for such a young band, but equally impressive. There’s a lot of attitude as well, but in good measure. Album opener “Alright Alright” kicks things off with snarling guitars and quick-stepped drumming. Andersson is a vocal vixen delivering a tough impression with tough lyrics. “On Top of Your World” bounces with punk-styled pop, whereas “Fall Into Line” highlights Jennie Bomb’s undeniable elasticity. It’s infectiously energetic and free of modern rock’s catchy radio hit. Sahara Hotnights composed an entire album of sophisticated rock songs and it’s a solid effort, musically and vocally. They’re certainly giving the boys a run for their money, too.

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eMusic Pick of the Day: Severed

“Severed” by MUNK

Dark, brooding and dangerous. This album has hooks that will sink deep into your flesh and make you keep hitting the repeat button.

As the walls of the traditional record industry crumble down and artists like Radiohead, Nine Inch Nails and Madonna strike out to peddle their wares directly to the consumer, is there any hope for an up-and-coming independent artist to reach the status of “international superstar”? While the major label behemoth slowly lumbers to stop the bleed, just beneath the shallow surface of popular consciousness, New Media is in rapid, exponential growth, poised to surpass the business model of the old guard.

After the release of his beats driven debut, 2001’s ANIME SWEETHEART and the confessional, hard rock follow-up 2003’s SEVERED, [munk] was critically lauded in traditional press, regional major market radio and national college radio. The Boston Globe wrote, “[munk] crafts his music with intelligence and panache. Can superstar status be far behind?” He was invited by the program director at WFNX, Boston to perform alongside signed touring artists in the Phoenix Best Music Poll, was the listener voted feature artist on WBCN’s Buzzcut for two weeks and had the phone lines lit for a solid hour at WAAF after an interview and debut of tracks from SEVERED. Two songs from SEVERED received honors in the 11th Annual Billboard World Song Contest, noted as “demonstrations of the talent and dedication it takes to write a hit song” by Billboard Contest Director David Kindred. [munk] also earned Top 30 airplay on over 100 college radio stations around the country.

Make sure you check out “Blow Away” (the closing titles theme song to “Number One with a Bullet”)

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