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eMusic Pick of the Day: The Else

“The Else” by THEY MIGHT BE GIANTS

This quirky dynamic duo serves up another awesome helping of alt-rock yummy goodness.

“There’s only two songs in me and I just wrote the third/ Don’t know where I got the inspiration or how I wrote the words/ Spent my whole life just digging up my music’s shallow grave/ For the two songs in me and the third one I just made.”

On their first album, using a forum more commonly exploited for unmitigated optimism and boundless hubris, They Might Be Giants turned the greatest fear of musicians — that creativity is a natural resource all too easily depleted — into a genial blast of self-defeating whimsy. But more than a thousand compositions later, the two Johns show no sign of emptying the well of unpredictable originality that is their stock in trade. It’s kind of frightening, actually, that — quite apart from the Bob Pollard school of fragment-spewing melodorrheic shovelers — anyone has so many songs in them, and that so many of them are worth hearing. True, there was a time in this adult’s life when a combination of the slavish audience adulation and the unstoppable dada ingenuity of the Giants’ first flowering could induce witticism overload and sugary head pain, but if too much of a good thing is the strongest complaint one can mount against a gifted band, that’s no worse than (to borrow a title from The Else) an “Upside Down Frown.” And, as it turns out, time has been good to the Giants. They may not be aging at a pace found on any wall calendar, but the Giants of 2007 are definitely a little more mature and level-headed (but nowhere near stodgy or boring) than the Giants of the Reagan administration.

If The Else is not as eclectic or compelling a collection as 2004’s The Spine (the uber-prolific duo’s last “proper” album, which means overlooking a couple of kids’ records, a brilliant set of joke songs for Dunkin’ Donuts commercials, an insane project in which they wrote and performed a specific song for each venue they played on a tour and who knows what else), its 13 songs don’t skimp on melodic strength or lyrical imagination. A few of the ideas here are shockingly familiar (”Take Out the Trash” offers the same sort of dump-that-jerk suggestion as Fountains of Wayne’s “Leave the Biker”; “Withered Hope” is a skeletal lovelorn story), but the rest emerge reassuringly from the seats out past third base: “Bee of the Bird of the Moth” (with a horn line that threatens to quote Manfred Mann’s “Pretty Flamingo”), the sterling power-pop of “Feign Amnesia” and the grad-school vocabulary of “Contrecoup.” (Limerent? Look it up!). “The Mesopotamians,” which brings the album to a delightful conclusion, is the ingenious autobiography of a fictional (?) band.

“There’s only two songs in me and I just wrote the third…” That John Linnell and John Flansburgh haven’t written themselves up a tree, into a corner or simply out of ideas is a testament to just how wrong they were when they stopped counting at two. (Or three.) Where it all comes from, one can suppose, is The Else.

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eMusic Pick of the Day: Shinola Vol. 1

“Shinola” by WEEN

A masterpiece of rock and roll weirdness that will grow on you like a fungus… the key word being “fun”.

Has there ever been a band weirder — album for album, song for song — than Ween? There might be a handful to consider for the sake of due diligence, but few groups could hold a weirdness candle to Shinola, Vol. 1, a collection of undated outtakes from Gene and Dean Ween’s vaults. The slapdash sweepstakes begin with “Tastes Good on th’ Bun,” which wraps jagged post-punk/goth riffs around a hissed vocal ode to hot dogs, dicks or both. That leads, naturally, into “Boys Club,” a hokey treehouse jam drafted over jazzy guitar chords, kiddie handclaps and glue-sniff harmonies. The next step would almost have to be… a slow and moody love song delivered with as much reverence as a love song could ever hope for.

Deliciously preposterous changes in tone and sound are typical of Ween, but Shinola ups the ante by doing away with the pretense of playing like a “proper album.” The songs sound like they could’ve been recorded at any point in the band’s career, and more than half stand among Ween’s best. “Gabrielle” is a monster hit from some secret unheard corner of ’70s rock. “Transitions” could light up an ’80s school dance (provided kids who would dig stepping on toes to lines like “Harry Truman is the holy son”). “The Rift” is at least as hypnotic and transporting as it is disarmingly funny. Only in the context of Ween could such songs sit alongside the dead-on Prince funk of “Monique the Freak” and the flute-strewn Jewish devotional “Israel.” The swerves make almost no sense by any conventional measure, which makes the odds-and-ends Shinola as good a Ween album as any.

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eMusic Pick of the Day: Pictures of the Big Vacation

“Pictures of the Big Vacation” by MIKE ERRICO

Mike’s great songwriting and soulful voice will win you over and make you a fan.

Sounding like Dave Matthews crossed with the Wallflowers, Mike Errico delivers a flawed but promising debut with Pictures of the Big Vacation. Errrico’s roots may be in the contemporary folk underground, but the production has a big, glossy sound that’s ideal for adult alternative pop radio. Beneath that gloss, it’s possible to hear what made Errico a cult favorite on the East Coast. His songs are elastic, bending from verse to verse, occasionally stopping for a chorus. His voice is jazzy and fluid, stretching for unusual notes. His lyrics are often impressionistic and poetic, sometimes to his own detriment, since it feels as if he’s striving too hard for unpredictable juxtapositions. This would all sound a lot more immediate and captivating if the production was simpler, but it’s very smooth, as if Errico and his producer Susan Rogers were gunning for the more experimental portions of Matthews’ audience. And, at times the sound does work, particularly on the quieter moments of Pictures of the Big Vacation — but that only hammers home the point that Errico probably sounds better unadorned.

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eMusic Pick of the Day: The Diamond

“The Diamond” by THE SOUND OF URCHIN

Fresh-sounding Hard Rock that will really jump start your earbuds. I love this album.

New York’s the Sound of Urchin manage to borrow from rock’s recent past to create a diverse, energetic album called The Diamond that more often than not feels inspired and sounds unique. Produced by Fountains of Wayne’s own Adam Schlesinger, the disc gets off on the right note with “Police Helicopters Over Brooklyn,” an homage to hot asphalt that pulls elements of the Foo Fighters and Pavement into the approach. Blistering rockers like “The Jack-O-Lantern” — which features guest guitar by the band’s manager, Twisted Sister’s J.J. French — and the Mudhoney-esque fury of “White Dove” take joyous flight, while the peculiarly funny “There Are People in the Clouds” seems to be inspired by Ween. When the Sound of Urchin — singer/drummer Tomato 11, guitarists B. lll and Seahag, plus bassist Doo Doo Brown — head into the hook-laden alt-pop terrain perfected by the likes of Schlesinger’s band or, say, the Gigolo Aunts, they assert just how skilled they really are. The Sound of Urchin may be all over the map on The Diamond, but the band shines just the same.

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eMusic Pick of the Day: PUSSY: The Musical (Soundtrack)

PUSSY: The Musical (Soundtrack) by PACIFIC COAST HELLWAY

This album is so catchy, it’s almost like the Mad Cow Disease of music.

“The World’s Most Offensively Enlightened Podcast” is how Playboy Magazine described Pacific Coast Hellway (Aug. ‘06) and never has there been a more apt description given to this world-famous comedy show. In Summer 2007, Mark and Mike decided one day that the time was right for the planet’s first serialized audiobook musical, the problem was deciding on a topic. “Is it about love? Is it about war?” they pondered and then it came to them. How about a musical… about pussy. But then after some thought the PCH boys decided it was kind of crude, so instead they decided to write a musical audiobook about two fictional guys who were writing a musical about pussy.

“There’s a world of difference,” claims Mark.

And so, PUSSY: The Musical (an audiobook) was born at http://pussythemusical.podshow.com and from it came the soundtrack album which contains the ten songs from the audiobook and a bonus track “What’s the Whole Story About?”.

Give a listen to the songs written by Mark Yoshimoto Nemcoff and Mike Yusi and all the new-media superstar voices who lent their talent to PTM. Amazing artists such as Munk, P.W. Fenton, Anji Bee, Ron Bloom, Brian Noe, Perry Baldessari…

And yes, the Adam Curry singing the song “Snatch” is the same former MTV VJ who used to host Headbanger’s Ball.

So sit back, pour yourself a cognac and enjoy the stunningly catchy soundtrack to PUSSY: The Musical and before you know it you’ll be tapping your toes… or other parts of your body.

Get the PUSSY: The Musical Soundtrack
Find it HERE

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eMusic Pick of the Day: Anger’s Candy

“Anger’s Candy” by BLAKE MORGAN

The powerhouse debut album by Blake Morgan, featuring a guest appearance by Lenny Kravitz!

Blake Morgan’s successes as a recording artist, as well as a producer, have paired him with Lenny Kravitz, Lesley Gore, Mike Errico, Phil Ramone, Terry Manning, and Phil “Butcher Bros.” Nicolo, among others. His work has taken him from The Hit Factory in New York to Sound City in Los Angeles, from Compass Point Studios in the Bahamas to Studio 4 in Philadelphia.

In 1997, after signing a seven-album deal with Phil Ramone’s label N2K (Sony/Red), Morgan criss-crossed the country for more than a year, promoting his album Anger’s Candy. Morgan shared stages with rock acts ranging from Joan Jett to Matchbox 20, garnering rave reviews for both the album and his live performances. However, and although he was the label’s most successful artist, the dissatisfaction of working under traditional record company control was undeniable. “But I didn’t want to become one of those recording artists who spend their lives complaining about their label.” Spotting an opportunity to, as he puts it, “break free,” Morgan did the unheard of: he told Ramone he wanted out of his long-term deal.

Defiantly, Morgan began inventing a totally different future for his music — launching what has become a phenomenon: the nationally distributed Engine Company Records home for himself and the growing list of albums and artists he produces.

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Welcome to the PCH eMusic Blog. This site is where I will post my personal download picks.

Best thing is you will be able to get these songs for free from eMusic! Signup today and you’ll get 35 downloads with your free 14 day trial. And if you choose to cancel your membership before that 14 day trial period is over, you’ll STILL GET TO KEEP those 35 downloads! But I think you’ll like eMusic. Check it out here!

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eMusic Pick of the Day - Major Lodge Victory

“Major Lodge Victory” by THE GIN BLOSSOMS 

If you liked their classic hits, the old Gins are back at it with their patented blend of jangly pop goodness.

Exactly 14 summers ago Arizona’s Gin Blossoms released New Miserable Experience, eventually going multiplatinum on the strength of timeless powerpop anthems “Hey Jealousy” and “Found Out About You.” A so-so follow-up (not to mention the alcohol- and depression-fueled exit of their principle songwriter), however, led to a subsequent split in ‘97. Now, after a 2002 reunion, comes Major Lodge Victory. Against all odds it’s a worthy successor to NME, evoking that album’s twinned vibe of ecstasy and melancholy.

Guitarist Jesse Valenzuela takes on the lion’s share of the writing — admittedly, he’s abetted by a song doctor, the Rembrandts’ Danny Wilde — in particular serving up the spirited, Beatlesque first single “Learning the Hard Way” and “Long Time Gone” (which contains striking “Found Out…” overtones). Vocalist Robin Wilson’s jangly thumper “Come On Hard” also joins the ranks of classic Blossoms compositions. And with Wilson’s honey-throated warble still as much a band trademark as the jangles, the album sounds familiar and fresh — the feel-good hit of the ‘06 summer.

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eMusic Pick of the Day: Reaching for a Gun

“Reaching for a Gun” by RICK HENRICKSON 

Slightly retro without that burnout of trying to be too cool. “Reacing For a Gun” is extremely hum-able with a very high replay factor.

Rick Henrickson is unapologetic about the influences that pervade his work. Frank Black, Jason Falkner, the Beatles: you can hear ghosts of their classics all over Reaching for a Gun, Henrickson’s debut album. That’s not a complaint, though. Henrickson’s truly talented in his ability to spin these internalized ideas into melodic gold. Quick, sharp and insanely catchy, these tunes (”Cool Dry Place,” “Surprise, Surprise” and “Two Hats” especially) are the sort of revivalism that’ll have you reaching back to the classics soon after Reaching for a Gun concludes. If you don’t find yourself playing it again, that is.

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eMusic Pick of the Day - The Ultimate Jackie Wilson

“The Ultimate Jackie Wilson” by JACKIE WILSON 

Some music just lives on forever because it has that magic. Jackie Wilson transcended the worlds of pop and r&b and helped establish a bridge between the two that thrives today.

Like Sam Cooke and Ray Charles, soul singing colossus Jackie Wilson stood astride two worlds, with one foot in pop music and the other planted firmly in r&b. He was dubbed “Mr. Excitement” for his electrifying shows, but Wilson was hardly a slouch in the studio either, delivering such r&b classics as “Baby Workout,” “Lonely Teardrops,” “To Be Loved” and “That’s Why (I Love You So),” all of which appear on this electrifying compilation.

A Detroit native, Wilson made his professional mark at 19 when he replaced Clyde McPhatter in Billy Ward and the Dominoes, scoring a hit with 19tk’s “You Can’t Keep a Good Man Down.” Signing a solo deal with Brunswick Records in 19tk, Wilson was paired with another Detroit music man, songwriter and future Motown mogul Berry Gordy, Jr., who produced and co-wrote such signature Wilson soul hits as “Reet Petite” and “Lonely Teardrops.” Gifted with a tenor as sweet and clear as spring water, Wilson was soon enjoying two-sided hits such as “Night” backed with “Doggin’ Around,” with one side aimed at the pop market and the other toward r&b. Though the strategy at first paid off handsomely, making Wilson a star on both the r&b and nightclub circuits, by the mid ’60s many of his original r&b fans had all but abandoned him. Teaming with Chicago producer Carl Davis, Wilson regained his crown with such moving hits as “Whispers (Getting Louder)” and “(Your Love Keeps Lifting Me) Higher & Higher.”

Cut down in 1975 by an onstage heart attack that left him bedridden until his death in 1984, Wilson remains one of the towering vocal stylists of his era, and this 44-song compilation — covering all of his soul and pop hits and also highlighting such unexpected tidbits as his covers of “Eleanor Rigby,” “For Once in My Life,” “Danny Boy” and “Georgia on My Mind” — is a mesmerizing reminder of a singer whose abilities and soul transcended boundaries.

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