Carbon Leaf - Radio Radio Indianapolis - 10/19/2014

 Clearly, this is a promo shot, I didn't take it.  I do have one picture from last night of me and Barry, but I look awful in it and you'll never see it.  :-)

Artist: Carbon Leaf
Venue: Radio Radio Indianapolis
Date: Sunday, October 19, 2014

Set List (again, dismally out of order, and potentially not complete, but as usual, I forgot to make notes so this is the best I could remember the next day):

What About Everything?
Life Less Ordinary
Love Rain Down
Februaery Detailles
Alcatraz
The Boxer
The Donnybrook Affair
Ghost Dragon Attacks Castle
When I'm Alone
Paloma
Comfort
Raise the Roof
One Prairie Outpost
She's Gone (...For Good This Time)
Two Aging Truckers
Ragtime Carnival
Tombstone vs. Ashes
Let Your Troubles Roll By

Last night we broke from tradition and, instead of going south to Nashville, we headed north to Indianapolis for our second Carbon Leaf show.  The first time we saw them live (in Nashville) was so stinking good, we were super excited to see them again.  For this tour, they're on the road in support of their latest release, Indian Summer Revisited.  Because a record company the band is no longer associated with owns the master recordings of their beloved 2004 release Indian Summer, they decided to re-record the album so the ownership of the songs and the recordings is now with the band, where it belongs.

This was the only show I've been to (that I can think of) that didn't have an opener and I was really okay with that.  I mean yes, I've found some of my favorite artists via them opening for other people, but sometimes it's nice to skip the formality and just get down to business.  It seemed like there was a quite a wait between when the doors opened and when Barry, Terry, Carter, Jon and Jason took the stage, but good company (and perhaps a bit of vodka) made the wait totally enjoyable.  This was our first time at Radio Radio which is a neat little venue in downtown Indianapolis.  With a 250 person capacity, a beautiful glass-topped bar and plentiful seating, it's a cozy place perfect for an intimate show.

When it was time for Carbon Leaf to take the stage, they did so with seemingly boundless energy and crowd support, just like the last time we saw them. The set list was heavy with songs off Indian Summer, which is cool because they're all crowd favorites.  However, this time it seemed that they were playing them with such renewed vigor, they felt like brand new songs.  It seemed as though, in working with them so extensively, the band had breathed new life into these songs and the audience reciprocated that.  Personally, I was excited to hear them perform "Paloma" and "When I'm Alone", a couple of my favorites.  They are both such beautiful songs and it was amazing to ride along on the ebb and flow of them.

While they stayed primarily in the newer albums, they did dip back in the catalog and pulled out "Comfort" from Love, Loss, Hope, Repeat and crowd favorite "The Boxer" from Echo, Echo.  Both songs were apparently well known by the crowd and we all sang along enthusiastically.  The sing-along aspect of the evening reached its peak during "One Prairie Outpost" during which Barry was able to stop singing completely and just let us handle that for him.  I love when that happens, but I have to say that my favorite part of a Carbon Leaf show is when they all gather around one microphone.  Sometimes the songs they play in this format get a bit lost in the chatter of the rude people in the back of the room, but I still love them if only because the band seems the happiest playing around a single mic like that and it's fun to be a part of it.

Just as the last time we saw them, they closed with the absolutely perfect "Let Your Troubles Roll By".  I'm not sure I've ever heard a better song to close with.  After the show, I visited the merch table and picked up one of the few Carbon Leaf albums I didn't already have.  Because the guys always mingle in the crowd after shows, I was able (with a lot of encouragement from my friends who are much cooler characters than I am) to speak to all five of the band members and get their autographs.  They're all incredibly friendly and, even after all these years performing, they seem truly grateful that people come out and listen and enjoy their shows.  I had a lot of things I wanted to say about how wonderful the show was and how amazing Indiana Summer Revisited is, but I'm mostly just happy (and eternally grateful to my friends) that I even manged to talk to them and not say anything too embarrassing.  This was the last show for us for the foreseeable future, and I can't think of a better way to wrap up the year.

The Black Keys - KFC Yum! Center - 09/10/2014

 

Artist: The Black Keys

Venue: The KFC Yum! Center, Louisville, KY

Last night we broke out of our normal mold and actually attended a show at an arena.  Normally, we stick to smaller, more intimate venues because that's the atmosphere I prefer, but my husband is a huge Black Keys fan, so we bit the bullet.  When I bought the tickets, I discovered that they had opened up the floor to standing room, general admission so I snapped up a couple of those and hoped for the best.  Well, the best turned out to be right down front, on the rail, nothing but a couple very large security guards and a whole lot of sound waves between us and stage.  Perfect.

As usual, let me start with the opener.  Cage the Elephant, a band originally from Bowling Green, KY opened.  I have one of their CDs and really like a couple of their songs, but I would be lying if I said this was one of my favorite live performances.  Or even that I especially enjoyed it.  There was a lot of media at this show (or at least more than I'm used to seeing) and the lead singer played to them so much it was kind of ridiculous.  It was nice when they finally left and he could start paying attention to the crowd.  Also, he mimics Mick Jagger's moves so much it was actually kind of comical.  I thought the guys in the band played well and their songs are fast and fun, they just need to tone it down a bit.

After that, The Black Keys took the stage.  It was Dan Auerbach, Patrick Carney and two additional musicians on bass and keys.  I don't have the usual guesstimate of the set list because I don't know the song names well enough to keep track and also because it didn't matter.  As long as Patrick was playing the drums and Dan was playing guitar, he could have been singing the phone book for all I cared.  There is not a lot of chatting in a Black Keys concert, it's not really Dan's thing, but that's fine with me, I kind of think that stopping to talk would have only broken the spell.  And it was quite a spell they weaved.  Patrick Carney is far and away the best drummer I have ever seen.  He creates absolute magic. When he started playing, the drum got in my chest immediately and it felt like my entire body was vibrated apart until I just hung there, mixed with the music in the air.  Then Dan swoops in with that guitar work and glues the pieces back together.  It was everything that is wonderful and mystical about live music.

I know they played all the songs we expected to hear, "Lonely Boy", "Gold on the Ceiling" and "Money Maker", plus an old cover from 2002's The Big Come Up and pretty much everything in between.  I had two favorite moments of the night.  The first was when they played a cover of Edwyn Collins' "Girl Like You", which used to be the ringtone my Husband used for me, so that was pretty awesome.  The second was the absolutely perfect "Little Black Submarines".  It started out with Dan playing the quiet, acoustic, complex guitar part.  Then the haunting vocals came in and the crowd knew every single word.  The song builds slightly in the middle, with a bit of drums being added in.  Then, for the last 1/3 of the song, it absolutely explodes in a cloud of raw, powerful rock.  It was amazing.

It was a great show.  Both Dan and Patrick are amazing musicians and it was totally worth the wait to get down front where we could really watch them at their craft.  Even the crowd was relatively well-behaved (only 2 people got thrown out that we saw).  I still don't prefer arena shows, but if I'm going to go to one, I want it to be exactly like this.

Happy Birthday, White Horse!

Today, one of my favorite albums of all time turns two years old.  Ryan Schmidt's White Horse EP was released the day before my birthday and with it's intelligent lyrics, stunning vocals, finger picked guitar, and Paula Kelley string arrangements, it is definitely my favorite accidental birthday present ever.  Even though it's only been around for two years, this album (and one song in particular) has been very important to me.


When White Horse EP came out, I was in a pretty bad situation career-wise and change was looming on the horizon.  I knew that change was imminent and that always freaks me out.  I listened to this album every single day on the way to work for months.  It was just such a calm, serene place to spend my mornings, it made it possible for me to face the days.  Then on the way home, I would listen to it again to clear my mind and shake loose the day.  It was quite literally this and two Betty Goo albums that got me through those last few miserable months at that job. 

Several months after White Horse EP came out, the aforementioned change came into my life and I had to make some decisions.  When I decided to do what I felt was going to make me happiest in my everyday life and not necessarily what was the most popular decision or the one everybody around me understood, I needed support.  I found that support in a little song called "Go Where You Belong".  This is far and away my favorite song on White Horse EP and probably my favorite Ryan Schmidt song, period.  When I started my new job, I made it a point to listen to "Go Where You Belong" last thing every morning before I got out of the car.  It's kind of my own 'lucky song'.  Whenever I need a little boost, a little encouragement, I listen to this song, sometimes several times in a row.  As a matter of fact, I fully intend to have a bit of the lyrics tattooed on me next time I get inked.

So, Happy Birthday, White Horse!!  And Congratulations, Ryan, on the 2 year anniversary of having made the world a more beautiful sounding place. 

For everyone else, here's a link of where you can buy White Horse EP (I tried to embed it, but for some reason that wouldn't work for me), but trust me, one little click is not too much effort.  You can also go there and listen to the entire album and many of Ryan's other releases as well, including his newest stuff, which I would highly recommend doing.

http://ryanschmidt.bandcamp.com/album/white-horse-ep

Dr. Dog @ Headliners Music Hall 11/02/2013

Artist: Dr. Dog (with guest Benny Yurco and the Revealers)
Venue: Headliners Music Hall, Louisville, KY
Date 11/02/2013

Once again, I didn't take this pic (I'm sticking to my no phone at concerts policy), we were a bit closer than this, but this was basically our view

Set List: (I know that this is dismally out of order, I always think at the time that I'll be able to remember the order, but that's a pipe dream, (furthermore, I'm not even 100% certain if The Beach was in the encore or the regular set list, I just know they played it), but I feel like it's pretty complete regardless)

1. The Truth*

2. Heavy Light*

3. Broken Heart

4. That Old Black Hole

5. Say Something

6. The Breeze

7. Hang On

8. Oh No

9. These Days

10. Stranger

11. How Long Must I Wait

12. Races

13. Too Weak to Ramble

14. Cuckoo

15. Love

16. The Beach

17. Wake Up

18. Heart It Races

19. Jackie Wants a Black Eye*

20. Lonesome*

Encore:

21. The Way The Lazy Do*

22. The Beach

23. Rock & Roll

24. Die, Die, Die

25. The Rabbit, The Bat and The Reindeer*

*These I know are in the right place.

You know how with a lot of things in life, the anticipation of it turns out to be better than the actual event?  Yeah, well, a Dr. Dog concert is most definitely not one of those things.  We hit Headliners Music Hall in Louisville last night for the second time in two weeks to see Dr. Dog and they absolutely blew the roof off the place, as expected.  It had been a little (15 days) less  than a year since we saw them last and, if I have any say in it, it won't be that long before we see them again.  They are so good live that's it's absolutely astounding.

Their openers, Benny Yurco and the Revealers were a fun, eclectic five piece band.  Their playing was a little loose and jangly, but they had the attention of the audience and they put on a good show.  We had decided to go up to the balcony for this show, so we had a cool looking-down-on-them kind of view of this show.  The Revealers had a very intricate percussion section that was fun to watch from above.  I wasn't familiar with their music before the show, but you didn't need to be in order to dance along to it and enjoy it, and that's the hallmark of a good opening band. They did one cover, You Just Keep Me Hangin' On by The Supremes (or Vanilla Fudge, or Kim Wilde) and the crowd really got into it.  They seemed a tad bit stifled by the tiny space they had available on what is already a small stage, but they made it work and I thought they did a good set.  After that, we got to watch the guys disassemble The Revealers' equipment and set up for Dr. Dog.  It was a pretty involved process that took over 30 minutes, but it was cool, the anticipation was just building the whole time.

Finally, it was time for the main event and they came out and opened with The Truth off their new album B-Room.  It went over pretty well and proved that lots of people in the crowd already own and know the new record, which was cool.  But things didn't get really cranked up until they laid into Heavy Light from Be the Void.  This is when the crowd really got drawn in and began that bobbing in unison thing that happens at every Dr. Dog show.  I knew once it started that it wouldn't stop until the lights came up, and I was right.  They turned Heavy Light into an amazing acid-rock inspired jam session that was quite heavy indeed.  It's a great song made even better last night by their embellishments.  The set list included several favorites off Be the Void which I was pretty excited about because I love the shit out of that record.  Once again they played That Old Black Hole (still my favorite), These Days and How Long Must I Wait?  All the songs from that album are huge crowd favorites and always get a great response. 

They also dipped back in their bag of tricks last night and pulled out Say Something and Oh No, both from 2005's Easy Beat and Heart it Races from the 2007 Architecture in Helsinki Heart it Races EP. All three songs proved that, young though they may be, this crowd was a bunch of long time Dr. Dog fans (or at least the kind of fans that have gone back and collected the older CDs).  It certainly wasn't only the new songs that were being appreciated last night.   However, my favorite moment of the night was when they played Too Weak to Ramble.  I had hoped for a slightly simpler arrangement on this one, I would have been happy with an acoustic guitar, Toby's voice and Scott's delicate harmonies, but we got a little more band involvement than that.  As it was, the crowd was a lost a little bit on this one and they got kind of chatty during this song.  That disappointed me because it was beautiful and powerful and I wish audiences these days could just be still (and shut up) for a second and appreciate a moment like that when it's given to them.  But, regardless of what everyone else was doing, I was right there with him.

One thing that I've come to realize is that there isn't a lot of chatting with the audience at a Dr. Dog concert.  They've come to play their songs and they let the music do all the talking for them.  Which is not to say they don't have any personality, because they do.  They're friendly and seem like nice guys, but they just get up there and play their guts out and go home, that's what we came to hear, that's what they came to do, end of story.  And it's a good thing I guess, because with a set list that size, if they were talkers, we'd still be there right now (although honestly, I'd be cool with that).  Problem is, they keep adding amazing records to their repertoire, but you can't neglect Fate or Shame, Shame just because B-Room wants some air time, right?  And they certainly didn't.  Last night, there was a little something for everybody and there was no reason anyone should have gone home unsatisfied.

They closed the show with Jackie Wants a Black Eye from Shame, Shame and Lonesome from Be the Void.  Both perfect closers and when one is followed by the other, we were really wondering what kind of encore they could possibly come out with after that.  I mean, both songs are huge and permeate the crowd and have them swaying together and screaming along to the refrains of "We're all in it together now, as we all fall apart!" and "What does it take to be lonesome? Nothing at all!!"  How can you possibly follow that?  Well, if you're Dr. Dog, you follow it with a five song encore of some of their old favorites plus the one song off the new album that you know is going to over the best live, that's how.  After the audience screamed to the point that my left ear still hurts, they finally came back out and started the encore with The Way the Lazy Do from their 2007 release We All Belong.  I love that song!  How did they know?  Then there was The Beach which was really amazing live (I really think this was during the encore, but maybe I'm nuts, my brain was all scrambled on Dr. Dog awesomeness by this point), and the Dr. Dog live show classic Die, Die, Die from Takers and Leavers EP.  As always, we were thrilled to hear that one again.  Then Toby did an astoundingly energetic version of Rock & Roll from B-Room.  How he had that much energy left after such a long show, I'll never know, but it was incredible and the song was just as great live and I had hoped it would be when I heard it on vinyl the first time.  They closed the show with one of my all time favorites, Fate's The Rabbit, the Bat & the Reindeer.

Once again, it was just as mind blowing as I had hoped it would be.  Nothing existing while you're inside that venue except the music and the lights and the awesomeness taking place on stage.  When the show is over, you just want more, it's never enough, but when watching them perform, you know you've already gotten everything.  They leave it all on stage every night, I don't know how they do it.  And they are such talented musicians, just watching them play the intricate guitar parts on their songs for two hours is a treat for me.  Then add in the way they can trade instruments back and forth like it's nothing and you realize just how talented these guys really are.  The most fun was watching Scott and Toby interact on stage (or, I should say, effortlessly not interact).  They're both bouncing around all over the place and yet, somehow know where each other are all the time.  And even when they do make contact, it's not the collision you'd expect.  I mean, seriously, they literally stepped on each other's feet at one point and there was no stumbling or awkwardness.  I'm sure it comes from so many years of playing together and just being so comfortable on stage together, and it a joy to behold.  In fact, that pretty much sums up a Dr. Dog show, even the heavy parts, it is two solid hours of joy.

"September Eyes" - Paula Kelley

Before the month of September escapes me entirely (as months have been known to do), I wanted to get Paula Kelley's "September Eyes" on your radar.  Like pretty much everything else she has done, this song is just pop perfection.  It's a bit jangly, with her angelic voice resting gently on a rich arrangement.  Seriously, it's pretty wonderful.  My favorite individual Paula Kelley songs actually come from Nothing/Everything, but oddly enough, The Trouble with Success or How You Fit Into the World is my favorite album to listen to from beginning to end.  I just love the sound of the whole thing all together.  So, naturally, I'm going to recommend you run out and buy it (or stay home and go clicky-clicky to buy it) and anything else you can find by her because her arrangements are simply mind blowing, so do it...like now.  What are you waiting for??

Happy September!!

"Another Friend" -Ryan Schmidt

You guys, I'm kind of freaking out over here.  Ryan Schmidt released a new single today and I'm finally getting to really listen to it for the first time right now.  I listened to it a couple times at work today, but it was just on my phone and only loud enough to know that it was good, you know what I mean?  Now I'm finally hearing it directly in my ears at a respectable volume and I am genuinely blown away. 

I can't decide if we have a pop star or an R&B singer on our hands, but he's the next big thing either way.  Obviously, I've known this for some time, but I'm convinced that the rest of the world is going to catch on when they get a load of this song. 

Richly layered music with clever lyrics depicting the plight of the "friend zone", the song is super catchy...I can picture throngs of screaming girls dancing their asses off to it.  At the same time there are hints of the heart-sick guitar long-time Ryaneers (thanks for the term, Bre!) will recognize from Burning, Bitter Years, just to let know that he is still firmly grounded in his origins.  And of course there is Ryan's soothing, cool-as-the-other-side-of-the-pillow voice driving the whole song and it just keeps getting better and better.

Following Ryan's musical journey and career is so much fun, there is no telling what he has in store for us next!  I'm so excited to see where this new direction takes him, wherever it is, I'm sure it will be an awesome adventure.  So check it out below so you can join me saying "I knew him when".  :)


 

Location, Location, Location

Now that a number of summer/fall tour schedules have been released, I'm absolutely beside myself with excitement about the shows we're seeing in October.  First up is Matt Nathanson back in Louisville at Headliners Music Hall on October 23.  I haven't seen any definite confirmation that Aaron Tap will be there to his right, but I'm an optimistic kind of girl so I'm just going to say he will be until I'm proven otherwise.  The very next week will be Carbon Leaf at The High Watt in Nashville.  The first venue holds 500 people, the second 250.  I could not be happier.

I'm thrilled that these shows are in relatively small venues because of the atmosphere that can be created with an audience that size.  The most magical thing I have ever experienced (hands down) was a Matt Nathanson show at The Cannery Ballroom in Nashville with 1,000 people in attendance.  The second best night was the Dr. Dog show we saw last fall at Marathon Music Works in Nashville where there were no more than 500 people.  There's just something so cool about the vibe that can happen in a crowd that size.

It's so easy to get caught up in it, to really be a part of something that becomes much greater than the sum of its parts.  The artist can create such an environment, such an experience. I've seen some really great showmen in bigger venues and there is just something missing.  I've even seen Matt (and I think we've established how fond of his live shows I am) in a large arena and it is just not the same.  There is something more intimate about a small venue, especially a standing room only room without rows of chairs separating the people.  Where you bump into one another and can stand right up by the stage, right up by the speakers, right up in the lights where you can bask in the circle of magic cast by the talent and heart of the artists. 

So, my point is, I don't want to wish away my summer, or hope myself any closer to the start of another tax season, but damn, am I ever excited about October!!

Smoke and Mirrors

At the end of our road is a sign for guitar lessons.  For a second I thought, "I should do that, that would be fun!"  I mean, I took piano lessons for a few years many years ago and I can still play a tiny bit (mostly with my left hand because my right hand and my brain aren't really connected very much), so it seems like it would be possible for me to learn.

But on the other hand, I don't really want to learn to play guitar, that would take all the mystery and wonder out of it.  Watching someone play guitar for me is much like going to a really good magic show where it all looks seamless and possible.  Why would I want to break that down into a series of simple, possible movements?  Learning how to do something always makes it seems less amazing when someone else does it, don't you think?  Watching someone play guitar is so magical and wonderful, I would never want to mess with that experience.

So the guy at the end of the road can keep his guitar lessons.  He can show the secrets to some other person and I'll just stay in the dark because sometimes, ignorance really is bliss.

Good Stuff 2012

So here it is, the obligatory "year in review".  I don't have the typical "best of" list for you or any of that crap.  Instead, I thought I'd recap the live shows that we saw this year (since those are always highlights) and then tell you some of the stuff I loved the most this year.  That's it, short and sweet.  Well, probably more sweet than short, I've never been known for my brevity.

We saw four live shows this year.  I know that's not very many for a lot of people, but for me it was a huge increase.  Hopefully 2013 has even more shows in store for us!  (We already have tickets to see Matchbox Twenty in February, so that's a good start)  In February we saw Matt Nathanson at Headliners Music Hall in Louisville, KY.  Rachel Platten opened for him and it was a great show (as always).  It was far and away my favorite show of the year because we met Aaron Tap after the show.  I was totally star struck and probably didn't say anything intelligent to him, but he was very friendly nonetheless and it was totally cool to be in his presence.  Maybe someday I'll run into him again and be able to string more than 2 words together in a row, that would be cool. 

In June my sister and I sold merch for the aforementioned Rachel Platten when she came back and played Headliners as a headliner.  Madi Diaz opened for her and they really put on a great show.  So good in fact that our next show was a week later when we went to see Madi open for Harper Blynn at zBar in Louisville.  She is so great that we just went to see her. We both had to work the next day so we only stayed for one song of Harper Blynn's set. 

Our final show of the year was Dr. Dog at Marathon Music Works in Nashville.  The openers for this one shall remain nameless to protect the sucky, but I cannot say enough about Dr. Dog live.  They are absolutely amazing and I loved every second of it.  Which leads me one of my great loves of 2012 - Dr. Dog.  If you're not familiar with this band, I suggest you get that way.  I have 4 of their albums so far and I have yet to hear them make a sound I don't love. 

I've also been very into Paula Kelley's work this year.  I can't get enough of her vocals and all of her arrangements are genius.  Every time I listen to anything by her I hear something new and wonderful in it.  And it's not only the music, her lyrics are so intelligent and crafty - seriously, what's not to love about this woman?  On a related note, I've also been totally obsessed with Betty Goo (which, admittedly makes me kind of sad since they're not active anymore).  Betty Goo was fronted by the multi-talented Aaron Tap and they are just awesome.  I love the quirkiness of them and I love that it feels like 90's rock (which it is) but with so much more soul and brains.

I've also come to really love Simon and Garfunkel this year.   Yes, I'm aware that I'm about 40 years late to that party, but better late than never, right?  They are just so amazing, there is a reason their music has stood the test of time.  Another band wagon I'm a little late to is Carbon Leaf.  Their music is so good, so heartfelt, and they seem like such nice guys.  I highly recommend you give them a listen.

A measurable amount of 2012 was spent in record stores.  I've been collecting vinyl this year and there are few things I like more than leisurely browsing through racks of old vinyl.  Our local record store (Joe's Records) is my favorite in the area, but it was blown out of the water when I visited Grimey's in Nashville, TN.  However, Joe's is 10 minutes from my house and Grimey's is 3 1/2 hours away, so I'm pretty sure Joe's will get the majority of my business. 

Finally, my absolute favorite musical thing of 2012 is Ryan Schmidt's White Horse - EP.  It was released January 10, 2012 (the day before my birthday, coincidentally) and I've been listening to it all year.  I just love it.  It's raw and emotional and stripped down - just wonderful.  I get the feeling that we're not going to get another record from Ryan that sounds like this one and that's okay.  I'm just glad to have this one.  I like that so far all of his records sound different, you can hear him feeling his way around and finding his voice.  It's such a fun journey to listen to.

Here's a few more artists who's work I've loved in 2012 that you shouldn't miss:
- The New Complainers
- Jesse Macht
- Boy Wonder
- The Black Keys
- Violent Femmes
- Plants and Animals
- Rooftop Suicide Club (this one may be tough to find, but totally worth it if you can get it)

Okay guys, that's it for me for 2012.  This year had a little bit of everything - some fun, some hard times, some great music, some total crap, some awesome experiences and some low-key peaceful days.  Overall it's been a totally decent year.  I hope 2013 is even better for all of us. 

Dr. Dog - Marathon Music Works - Nashville - 11/17/2012

 

So yesterday (Saturday, November 17, 2012) my husband and I headed back down to Nashville to see Dr. Dog at Marathon Music Works.  I had heard amazing things about seeing Dr. Dog live (mostly from Justin of The New Complainers, - scroll down, you'll see it).  But it seems to be a general opinion among their fans that their live show is mind blowing, so I bought the tickets months ago and have really been looking forward to it.

 

The first thing I noticed among the small crowd that had gathered by the time the first openers were to take the stage was that they were very young.  Lots of black X's on their hands.  Also, there were lots of skinny jeans and beards (big, full beards) - both features on the same guy more often than not.  Suffice to say not the same crowd I'm used to seeing at the shows I've been to. 

 

The first opener came out 15 minutes late - and that's pretty much the nicest thing I have to say about them.  The second one made us wait 20 minutes while they dicked around with who-knows-what on stage and when they finally started playing, the mix was horrible.  We couldn't hear a word the lead singer said when he talked much less when he was singing and the volume was literally so low I had trouble hearing them over the completely disinterested audience who were all talking among themselves at that point. 

 

At this point, I admit, I was losing faith.  The crowd clearly found themselves too cool to be interested in anything, or affected by anything.  They just stood around in their little groups, many of their backs to the stage, talking and drinking their huge cans of Guinness and PBR.  I was so not among my people it wasn't even funny.  I was thoroughly irritated by all the waiting around we were doing and what was, so far, a less than inspiring show.  I wondered how these 6 unassuming guys could ever make up all the ground that had been lost by the time they finally took the stage at almost 10:30...

 

 

All I can say is - holy shit.  To begin with, they opened with my favorite song of theirs, "That Old Black Hole" and it was huge and commanding and wonderful.  While the noise the openers made just bounced off the crowd and dissipated in the air around us, the opening chords of "That Old Black Hole" penetrated our brains, grabbed our attention and had us bobbing in unison and singing along instantly.  I immediately felt at one with this group of the people that I otherwise had very little in common with.  They drew us together and never let us go until they released us into the world with "Jackie Wants a Black Eye" - a PERFECT closer.

 

Here's the set list:

 

That Old Black Hole*

Hang On*

Vampire

The Breeze

These Days

Stranger

Heavy Light

Shadow People

How Long Must I Wait?

Do the Trick

The Rabbit, The Bat and The Reindeer

Shame, Shame

Lonesome*

 

Encore:

From*

Die Die Die*

Jackie Wants a Black Eye*

 

*the ones with stars are in the correct order for sure, the rest of them are questionable

- also, my Dr. Dog collection is only 4 albums (Be The Void; Shame, Shame; We All Belong; Fate and 1 EP Wild Race) they played a few more songs that I wasn't familiar with, so I couldn't list them here

 

They played for a solid 2 hours (maybe a bit more) without a single break.  They talked to us a bit, but didn't even do that too much, they pretty much let the music do the talking.  These guys are just amazing.  Their harmonies are so fucking good they're almost disturbing.  When Toby and Scott sing individually they sound completely different, but when they sing together it's like a single multi-dimensional voice.  How is that possible??  And the sound the band creates is so huge it just permeates your entire body and becomes so tangible you can just float along on top of it - no gravity needed.  Amazing. (yes, I'm aware I've said "amazing" too much, but trust me - it was!!)

 

I've been to some really great shows lately and this one definitely ranks high on that list.  A few highlights were "The Old Black Hole" which I love anyway and was just awesome live.  There are a ton of lyrics in that song and singing them along with Scott was too fun.  Also "Vampire" - I couldn't believe they played this one, I was so stoked.  And Toby really gets into it (of course, he really gets into all of them) but this one is powerful and emotional and wonderful.  "Lonesome" and "Shadow People" were fun live and of course the Dr. Dog classic "Die Die Die" was incredible.  Simply put, it was all just mind blowing and I can't wait to see them again.

Who Do You Let In Your Bedroom?

As I would imagine is evident, I listen to music pretty much all the time.  Or at least every chance I get.  For instance, today while I was re-grouting our kitchen floor I listened to Rooftop Suicide Club's Always Like This (Which I came to own recently as the result of one person's awesomeness and generosity.  How I deserve to be on the receiving end of that, I'm still not exactly sure, but I totally dig it.) and Betty Goo's Superchthonic and Gooicide. Then to cap off a busy day we sat on the back porch with a big old glass of spiced apple wine and listened to Paula Kelley's Nothing/Everything.  No event is too small to have a soundtrack. 

Speaking of Nothing/Everything, it is a beautiful record and you really should own it.  I mean, if you like awesome things, of course.  It is dimensional and fun and sad and, I think, is perfectly complimented by her earlier release The Trouble With Success or How You Fit Into the World.  Honestly though, you just can't go wrong with anything The Divine PK has written, it's all...well...divine. 

But that's not what I'm here to ramble about (all evidence to the contrary). My second favorite thing in the world to soundtrack is going to sleep (the first is driving, so settle down pervs).  I know that sounds weird but I don't go to sleep like normal people.  My Husband, for instance, falls into bed and is generally asleep within mere moments.  I, on the other hand, will stare at the ceiling (or into the darkness) for half an hour at least, sometimes a couple hours before the Sandman comes to visit.  It's my own charming version of insomnia.  I like to see the silver lining though and the fact is, my lack of sleep affords me a great opportunity to listen to some of my favorite songs in a near perfect setting.  In my headphones, in the dark, with little else to distract me.

There is a certain openness of the soul that happens as I lay in the dark waiting for sleep.  A kind of vulnerability that just cannot be attained when I'm dressed for the day ready to face the world.  I mean, when I'm there, makeup scrubbed off, hair down, contacts out, jewelry off, there are no defenses, no mask, no bullshit.  Just me and the sounds pouring into my ears.  So naturally I choose my nighttime songs carefully.  I can't just put my iPod on shuffle and risk some kind of crap happening to my impressionable ears. 

Most nights, this is the time I want to listen to the stuff that really gets in.  I want to hear the arrangements with the most dimension, the lyrics that really hit home, sometimes even the songs that cause big cathartic tears to slip out of the corners of my eyes.  To that end, here's my most recently sleepy time play list:

1. "Bridge Over Troubled Water" - Simon and Garfunkel
2. "Relapse" - Betty Goo (This is one of those with a lyric that is so ouchie that I'm pretty sure I'm hearing it wrong, but I swear he says "so take my hand, Jeanne, smooth my hair and show me that I'm loved and you really, really care".  Jeanne was my mom's name and that line, wrapped up in that song, kills.)
3. "Hate Me" - Blue October (I'm pretty sure this song is not really very good, but something about it just slays me)
4. "Long December" - Counting Crows
5. "Someday" - Dr. Dog
6. "Lost Horizons" - Gin Blossoms
7. 'Sunday Morning Coming Down' - Johnny Cash (this song makes me cry every single time, I can't really explain it)
8. "Heavy Heart" - Madi Diaz
9. "All We Are" - Matt Nathanson (I love this song and it takes me back to the end of the concert in Nashville which was an absolutely perfect night, so now it's doubly perfect)
10. "Farther Down" - Neon Trees
11. "Thinkin Bout You" - Pat Monahan
12. "Night Racer" - Paula Kelley
13. "Heavy" - Train (far and away my favorite Train song, it's so wonderful and bluesy, I wish they'd go in this direction again, even just for a song or two here and there)
14. "Remark" - Rachel Platten
15. "Night the Bells Rang" - Ryan Schmidt
16. "Then I'll Be Smiling" - Matt Nathanson
17. "Who Wants to Live Forever" - Queen
18. "Disarm" - Smashing Pumpkins
19. "Perfect Blue Buildings" - Counting Crows
20. "The Boxer" - Simon and Garfunkel

Fun Stuff

Some fun stuff has gone down recently.  Last week, my sister and I went back to Headliners Music Hall in Louisville (the site of the Aaron Tap meeting) and sold merch at Rachel Platten's show.  While there, we had the privilege of meeting Rachel, Craig Meyer (drums), and Madi Diaz who was opening for Rachel on her 53 Steps Tour.  Simply put, the show was amazing.  This two ladies are just so incredibly talented and have such beautiful voices.  Add to that how sweet they are when you meet them and there's no way you can't love them. 

I wrote up a little something-something about that night and it was posted on ourvinyl.com which was another cool thing that happened.  If you haven't seen it, you can read all about it here.  I took the pictures that are featured in the article myself that night.  Here are a couple more that weren't included.

Stein Stoess - Louisville native who opened the show

 Madi's merch case - truly full of tiny lights!!

 Madi Diaz - it's so hard to get a stage picture without someone's mouth open!

 Craig Meyer - drummin' it up! He was mostly blocked from my view by keyboard stuffs

Rachel and Madi right after singing Robyn's "Dancing by Myself"

Here is a little bit (literally just a minute) of Rachel and Madi singing "Dancing by Myself".  Of course now I wish I had the whole song, but it was so beautiful, so goosebump-inducing that I was way more interested in just listening to them sing it than I was recording it at the time.

As an added bonus, after Rachel's tour ended, Madi Diaz stayed on the road in support of Harper Blynn and returned to Louisville less than a week later!  They played a little bar called Zanzibar (or zBar) last night.  Because she is so freaking good and my husband hadn't seen her yet, he took me to the show last night.  As soon as her set was over he turned to me and said, "Okay, why hasn't she blown up?" to which I replied, "Because people are fucking stupid and they don't know what's good."  Seriously though, her voice is so good live that it's just ridiculous.  He is still talking about it today.

I had planned to buy an actual physical copy of her CD (can you imagine??) and have it signed, but her mom and some people she knew were at the show and when she had a free minute, she was talking to them.  Well what kind of asshat would I be if I interrupted a conversation with her mom??  Sure, maybe it's not too rude to interrupt someone to tell them that they're awesome, but I still didn't have the heart to do it.  I know she'll come back to Louisville one day and I'll tell her she's great then, it'll keep.  Anyway, we got to see a couple songs by Harper Blynn and they really are quite good, but mornings start hella early around here and I couldn't take another super late night during the week, so we had to shag out of there and get our old asses to bed.  Hopefully they'll come back thru Louisville soon too on a more hospitable night cause I'd love to see them, especially after I get a little more familiar with their music.

That's been pretty much it.  Not much else going on musically, I've been listening to Rachel and Madi a lot lately, sprinkled in amongst the usual suspects.  I'm also still waiting to someday get tired of Dr. Dog's Be the Void which I've been playing the shit out of for the last couple months.  I did craft a mind blowing play list that I've been listening to for weeks, I'll share that with you soon.

Ryan Schmidt - Burning Bitter Years

Album: Burning Bitter Years
Artist: Ryan Schmidt
Release: 2007

And so I have finally circled back around to Ryan Schmidt's debut album.  I started in the middle, worked my way to the present, and now we're back to 2008.  Burning Bitter Years was released just about the same time Ryan graduated from high school.  And yes, I did say that was 2008.  So...the same year my husband and I were celebrating our 10th anniversary, Ryan Schmidt was graduating from high school...but have I mentioned how young you can get married in Kentucky??  Anyway, if you ask me (and since you're reading this, I'll kind of assume you did), this is a really impressive example of songwriting for a kid in high school.  In fact, Burning Bitter Years and Ryan himself have completely changed my opinion on young songwriters.  Besides, let's be honest, who knows pure angst better than teenagers?  Sure, older folks have the market on real heartbreak and hard times, but our connection to the gut wrenching experience of finding our true selves is never closer than during those awkward years between being a kid and being an adult.

Now, don't get me wrong, these songs aren't on the same level as those on White Horse or Black Sheep, Run, but they're not supposed to be.  That's one thing that really makes me love this record - it's a first step.  When you listen to the three of them in succession, you can really see the progression of his songwriting and the execution of it.  That's what records are supposed do.  They should chronicle the artist's career and Burning Bitter Years is a great opening chapter in that story.  Another thing I love about this record is the potential it holds.  When you compare this one with the two he put out while in college, it makes the prospect of what's in store for us now that he's out of school altogether (well, almost) very exciting.

However, even without all the context that we have now, this is just a really good collection of songs.  They cover lots of ground too, all over the spectrum of love and life.  My favorite example is the title track.  Of course, just the guitar in that song alone kills.  What an incredible sound.  Then there is "Ten Days", which is about a 10 day license suspension (remind me to never speed in New Hampshire). I'm sure it really sucked at the time, but I have to admit I find that song pretty amusing now, especially after I figured out what it was really about.  Overall, I find Burning Bitter Years to just be a great example of a songwriter starting to find his voice.

Current Play List (I'll Get To It!)

I don't sleep very well or very much.  I've been that way my whole life; although, it did get notably worse a couple years ago.  More on that...um...never.  Anyway, as a result, every night when we go to bed, I listen to my iPod and play my gameboy until I get sleepy.  Last night the following conversation took place:

Me: These are snore cancelling ear buds, but I leave the left one out until you fall asleep so I can hear you when you say some random shit.
He: Do I say random shit?
Me: OH YEAH.
He: What's Pi to the fifth place?
Me: .....
He: Random like that?
Me: (after laughing hysterically) No, not usually quite that random.
He: You should tweet that.
Me: Whaa?  Now we're deciding what to say based on whether or not I'll tweet it?
He: Well yeah, I'm playing to a bigger audience now.
Me: Hahahahaha
He: You should tweet that too.
Me: HAHAHAHA

How could this possibly relate to music you ask?  Well, I'll tell you.  During this exchange, the unequalled Paula Kelley was singing in my right ear.  How did that impact the aforementioned conversation?  Well, because the song she was singing ("You Gonna Make It?", by the way) is part of the little play list that has kept me sane here lately.  That bit of sanity is what has allowed me to have even a shred of humor left in me after all that has happened the last couple (horrible) weeks.

So, just in case a shitty couple weeks befalls you in the future, let me share with you my musical Prozac:
1. Brollo (Acoustic) - Jon Palmer & the New Complainers
2. Radio - Jon Palmer & the New Complainers
3. Handbag - Betty Goo
4. Horseface - Betty Goo
5. Vanity - Betty Goo
6. Uncommon Courtesy - Betty Goo
7. Washed Up - Betty Goo
8. Over Your Head - Boy Wonder
9. X-Large - Boy Wonder
10. What About Everything? - Carbon Leaf
11. Lonesome - Dr. Dog
12. That Old Black Hole - Dr. Dog
13. Get Away - Dr. Dog
14. You Gonna Make It? - Paula Kelley
15. Slug - Paula Kelley
16. Lucie - Paula Kelley
17. The Girlfriend - Paula Kelley
18. The End of That - Plants and Animals
19. Song for Love - Plants and Animals
20. Don't Care What Time It Is - Rachel Platten
21. 53 Steps - Rachel Platten
22. You Don't Have To Go - Rachel Platten
23. All I Seem To Do - Rachel Platten
24. Don't Wanna Be Here - Rachel Platten
25. I Could Be a King - The Dunwells
26. Get Gone - White Arrows
27. Landslide - Steve Adamyk Band
28. Lost and Found - The Kill Van Kulls
29. My Time Has Just Begun - The Dead Trees
30. Pineapple Girl - Mister Heavenly
31. Sing In My Meadow - Cowboy Junkies
32. I Want to Forget - Psychic Twin
33. Church Clothes - Matt Nathanson
34. Lost Myself in Search of You - Matt Nathanson
35. Mercy - Matt Nathanson
36. Under Attack - Ryan Schmidt
37. White Horse - Ryan Schmidt
38. Go Where You Belong - Ryan Schmidt
39. Wasted - Micah
40. Yellow Ledbetter - Pearl Jam

I Don't Mean to Be This Way

I want to offer you new and different (and wonderful) things to listen to - I really do!  I want to find all the awesome music that I know is lurking out there and share it with you, but I am not shitting you when I say that this:


This:



And this:
http://www.rhapsody.com/artist/boy-wonder/album/break-the-spell-etc

Are seriously ALL I've been listening to lately.  I understand that I'm not well, but nothing else sounds good right now, so I just listen to what sounds good to me.  But I also understand that you're sick to tears of hearing about them.  So...yeah.  I'll get over it one day and let them blend into my play lists...but today is not that day.

Songs Are Like Onions

Someone asked me recently what I meant when I said that you could "move around inside" songs.  I can't answer that question in 140 character snippets, so I'm going to try to do it here.  The first time I listen to a song, I generally hear the vocal (unless it's instrumental...obviously).  Because I'm a lyric junkie, I always want to know the lyrics first, what's being said, what the song is about, all that.  I honestly didn't even realize how much of a door to the rest of the song the lyrics are for me...or how locked that door can be...until recently. 

There is this song that I love, love, love but I could not, for the life of me, understand the chorus.  Not grasping the verse is one thing (I actually really enjoy being able to pick up new phrases in the verses and catching unexpected, clever bits of lyric), but entirely missing out on the chorus was fucking me up.  In the perfect storm of my weirdness and the songwriter's awesomeness (!!), I was finally clued in to what he's saying.  As soon as I knew the words, the next time (okay, maybe the 4th or 5th time after that) that I listened to the song, I was able to move past the vocal and listen to the music behind it.  It wasn't until I did it that I realized I had just been so hung up on trying to understand the words that I hadn't really appreciated the song itself.

That's kind of what I do.  I like to go into the song and pick out individual instruments and listen to them separately.  (Which stands to reason because I also pick apart my food and anything else pick-apart-able)  I'll listen to the guitar one time, then the drums one time, then back to the vocals, etc.  For me, it's by listening to each of these things separately that I can appreciate the wonder that's created when they all come together to form the whole song.  There are few things more enjoyable than a song with an intricate arrangement because every time I listen to it, I can hear something different.  Speaking of that, no one creates depth of sound like Paula Kelley.  Check out the arrangement on this song and how the combination of the instrumentation and the vocal is absolute perfection: 


Is that not the most wonderful thing you've heard today?  Her arrangements are perfect examples of music that is tangible, that you can go inside of and wander around in.  (And you know, obviously Ryan Schmidt is not too shabby himself)

But a song doesn't have to include that many instruments to be dimensional.  It can be just a voice and a guitar.  In fact, some of my favorite songs to hang out in are "just" a voice and a guitar.  I guess, in the end, I don't know how anyone can listen to music and really be a fan of it and not get what I mean when I say those things.  Haven't you ever just closed your eyes and drifted through the song as it drifts through your ears?  If not, I highly recommend it.  It's like a little 3 minute vacation.  Just take your favorite song and look around inside it.  Observe how the drums and guitar work together (or push up against each other), see how they support the vocal and give it a place to rest or give it the energy it needs to hold up the song, or what the bass line is doing in there.  It's just amazing how much can be going on inside a song and how easy it is to miss what's really happening if you don't pay attention. 

I'm not sure I've really explained myself very well, but I hope the next time you have a some quiet time with some good tunes that you'll investigate what you're hearing and take the time to truly appreciate what's been created.



**If you haven't seen Shrek, you might not get my title on this one but trust me, like onions - and ogres - songs have layers**

Betty Goo - Superchthonic

Album: Superchthonic
Artist: Betty Goo
Release: November, 1995

As you may have noticed, I've been searching for Betty Goo's Superchthonic for a while now.  (Of course, you know by now that Aaron Tap sang and played guitar for Betty Goo...right??)  I can't even remember exactly when I started searching for it but it's been a while. Finally some dude in Pennsylvania let go of a copy of it (who knows why).  It's in perfect condition and ripe to be signed (someday).  My level of excitement at actually finding it was made apparent by the amount I paid for it and considering it's only 7 songs, my cost basis per song is kind of sick but let me tell you, it is 100% worth it.

Superchthonic (pronounced superthonic, by the way) did not blow my mind clear out of my head the first time I listened to it like Gooicide did, but it is still pretty amazing.  Of course I liked it right away, but to really love it, it kind of had to creep in quietly, it seeped in over time and as a result it has taken a firm hold.  It is just that damn good.  It makes me sad that I missed this band when they were around - that I missed these albums when they were new.  What the hell was I thinking in 1995??  Oh yeah, I guess I was busy finishing high school in the Midwest where Betty Goo wasn't exactly heavily marketed.  At least I've found them now and even with 17 years (good lord) stacked up on top of them these songs are no worse for wear.  They still sound new, at least to me, they're not crusty like some stuff from the 90's sounds when I listen to it now.

These songs cover everything from a distorted self-image to chauvinism to...is it drug use? Anxiety? Both?  When taken as a whole, it's like a broad commentary on how fucked up everything can be, but from a very personal perspective.  Betty Goo strayed pretty far from the typical songs about romantic relationships - good, bad or indifferent - on this record and bless them for that.  Of course, from what I've heard, there is very little about Betty Goo that could be described as "typical".  At it's heart it's still largely guitar-driven rock music, but somehow it transcends that and becomes, you know, kind of magical.

The only overt references to the relationships between men and women deal with male chauvinism...when was the last time you heard that in a rock song??  "Thom Thumb" is perhaps the most satisfying 51 seconds of music I've ever heard.  It's the story of a man who is kind of a pig, the woman who lives in the shadow of that and her possible options for making him pay. Right in the middle of the song is this line: "a man needs a place to put his cock and a woman should do everything but talk" which is so completely perfect in the context of that song.  (and pretty sweet out of context too, to be honest)  And yes, all of that really is contained in 51 seconds - it's amazing.

Let me give you a few examples of what I love about Superchthonic (besides the title).  The line "b-e-d is an alphabet of self-hatred and mockery" in "Vanity".  That whole song is so quick-witted, you really have to pay attention, and I love that.  "Relapse" - the whole thing.  Which I've already rambled about here.  The mastery of the "choose-your-own-adventure-song" (at least, that's what I call them).  "Vanity" ends with "because you know I think I'm...." and "Thom Thumb" ends with "cause there's a good opportunity when the man has had 2 or 3 and he's sleeping sound as sound could be to..."  I dig it when songwriters leave open spaces like that.  When they give their listeners credit for being intelligent enough to get it without necessarily having it spoon fed to them.  "Uncommon Courtesy" (especially the plaintive delivery of the line "how could he do this to me") and "Washed Up" (I'm pretty sure I'm going to make this one my new theme song) both are pretty perfect.  That dramatic pause at the end of "Dear John, I'm Still Smiling" (which I've heard from an extremely reliable source was pretty epic when performed live) when you think it's over, but then it comes back for 30 more seconds of awesome.

There is just something so unique and intelligent about this record...and Betty Goo in general.  I sincerely hope that you'll look for it and find it and love it - everyone should get to experience some incredible stuff like this in their lives.

Sometimes It Just Can't Wait

I had my plan for next Monday all worked out, I had the play list made and on my iPod - I was determined to get back to the origin of New Music Monday and only have honestly new music.  Not necessarily new chronologically speaking, but by artists that are new to me.  In other words, not stuff written or produced by artists I've rambled on about at length, no guitar or backing vocals by anyone I may have already mentioned 500 million times.  See?  I had good intentions.

Then out of the blue (or perhaps not so much) these guys popped up on my radar.  Jon Palmer and the New Complainers.  Who are they?  I dig the name, so on that alone I decided to check them out.  The first one I listened to was "5 O'Clock" and it has horns!  Which is kind of different, you know?  And I love things that are different in a good way.  Then I listened to "Radio" which has such an infectious groove, I'm not ashamed to say I've listened to it about 10 times in a row this morning.  Plus the clever little line "all's fair in love and war, I'm just not sure, which this is" hooked me.

So then I get to googling to find out more about these guys and lo and behold, but who do I find is associated with this band??  None other than Ryan Schmidt.  Holy shit.  At least I liked their music before I found that out, so it wasn't because I was biased (as I might tend to be). 

It doesn't matter about New Music Monday though, because I'm digging this song (I just have the one on my iPod right now, which in hindsight was a mistake) so much that I just couldn't keep it to myself that long.  Also, apparently they're in the process of recording an album as we speak.  I don't mean to rush the creative process or anything, but the world definitely needs more of this:

Latest Purchases

You know me, I'm always buying some music.  I can't have a drug habit because it would cut into my music fund and that would not be cool.  Wednesday and Thursday were lovely days for procuring music.  Here's what joined my collection:

First, the first Betty Goo CD Superchthonic arrived in the mail Wednesday afternoon.  I say the first "CD" because they had a debut release that was only released on cassette (want, want, WANT).  I scoured the internet for Superchthonic for months until some dude in Pennsylvania finally came off a used copy of it.  I found Gooicide first and LOVE it...like, in a big way.  I've been looking for that debut cassette just as long but I have a feeling that search will carry on for some time to come.  Anyway, I've listened to it a couple times and while it isn't quite the religious experience that Gooicide is, it is pretty sweet.  Some of these Betty Goo lyrics really hit home and while that probably means that deep down I'm totally fucked up, that's cool, I've never minded that too much.

Then Wednesday night I got The Black Keys' The Big Come Up (which is their debut) from iTunes (mostly for my husband) but I listened to it this morning and all I can say is that it's like getting slapped in the face with a handful of awesome.  I mean, seriously, where do these two young white boys get that sound??  Amazing.

Then, the most exciting thing ever happened (ok, maybe not EVER but it was pretty cool).  My music guru (don't say "Who?" you know who I'm talking about) actually recommended an album to me.  Not like, in a "Song of the Week" kind of way, but in a "Here, try this one" kind of why.  Very awesome.  (Can I do that?  Can I use very and awesome together?  Well I just did and the grammar police can suck it)  Oh, and you know what the best part is?  It's an album by Boy Wonder - a quartet, half of which are none other than the wicked talented Paula Kelley and Aaron Tap.  Built-in amazing. So, naturally there was nothing else to do but immediately become the proud owner of a digital copy of Boy Wonder's Break the Spell, Etc.  Of course, I have a sneaking suspicion that this is going to be another band that I want to see live and can't. 

Micah - Micah EP

Album: Micah - EP
Artist: Micah
Release: July 14, 2006

How have I not talked about this one already? (honestly, I kind of thought I had)  This was Micah's debut but of course I got it last because I do everything backwards.  I would say that this EP has my favorite Micah song on it, but that would require me to pick between "Wasted" and "Goodbye" and this just isn't gonna happen.  So we'll just have to split the difference.  "Goodbye" is one of those that is very upbeat sounding which is in contrast to the lyrics and I love that.  It is very reminiscent of Stevie Wonder (or Jamiroquai if you're a generation younger) which is sweet.  I have literally danced around the house to this song a number of times and I haven't even begun to get tired of it.  "Wasted" is of the same vein as "Goodbye"and is definitely dance-around-like-a-fool worthy.  I put these both on a couple play lists that my husband and I listened to while we were working on a home improvement project (that drug on forever) and they both held up wonderfully to everything I could think to mix them with - everything from Matt Nathanson to The Black Keys to Red Hot Chili Peppers - and that says a lot.

The next two songs are decidedly more chill.  "Thinking" opens with "I'm scared as hell, thinking 'bout the future, thinking 'bout everything" and there isn't a person on earth that can't relate to that.  Never before has the fear of moving on and changing and our tendency to stand in our own way been so fun to listen to!  "Take Me Home" is another one that portrays a bit of the human experience that we've all had.  It expresses that desire within us all to go home, whether home is an actual physical place or just a simpler, more comforting time.  In this crazy, hectic world of isolation and anonymity, I think this urge to slip out of the rat race and into a place that feels like home, where we're known and understood and accepted, even if just for a minute, is pretty commonplace.  Listening to this song will give you that feeling, for 4 1/2 minutes.

Even if you're not familiar with Micah's work (then you have clearly been ignoring me and what is your problem??) you should definitely check this EP out.  The songs are just so catchy and human - I don't see how they wouldn't appeal to everyone.  Just go get it and give it a listen and you'll see what I mean.