Lord, To Be 33 Forever

Greetings, faithful readers.  Tonight, we here at the Cuddle are feeling a little down, a little melancholy, yet we can see the silver lining in everything.  As I was rolling into work today, listening to a playlist on the trusty iPod, the sweet sounds of The Hold Steady came ringing through the speakers.  Now, there are myriad bands that beg to be played in the summertime (The Allman Brothers and Grateful Dead come to mind), but Craig Finn and his crew might be my favorite.  There's nothing better than wailing guitars and songs about the misguided follies of youth sung by a guy my age.  There's something reassuring about having musicians out there who can speak from experience and represent what it's like to be in your 30s, having made plenty of mistakes, trying to learn from them, and stopping short of telling others not to make the same ones.  Each Hold Steady album is great (we even chose Boys and Girls In America and Separation Sunday as co-best albums of the decade HERE) but tonight has me thinking about Separation Sunday a little more.
Through 11 tracks, Finn manages to be ridiculously verbose while spinning tales about getting wasted at camps along the Mississippi River, being at parties that are way too druggy, trying to buy drugs from Mackenzie Phillips, and finding redemption despite our foibles.  This is the record that introduces the terms "hoodrat" and "banging camp" into your vocabulary, takes you to Ybor City, City Center (in Minneapolis), and Penetration Park, and allows us to meet Holly, Gideon, and Charlemagne as characters in the Hold Steady universe (here's a tip - they don't do many redeeming things through the course of the record or the next couple, either).
It's Craig Finn's delivery that clinches this record, though.  He's a storyteller, first and foremost, not really a singer.  Those who don't worship the band often point to this as the reason why they can't get into their records, but allowing it to wash over you for a while will lead to the realization that he's truly a lyrical genius.  Check out all of the little details about the hoodrat friend that makes the narrator sick - including "tiny little text etched into her neck: it says 'Jesus lived and died for all your sins'" and the "damn right you'll rise again" tattoo on her lower back (guess why you'll rise again with this one...).  And despite describing why she makes him so reviled, he says, "your little hoodrat friend got me high, though" - so much for redemption.  The great thing about all of this drugging, dirty sex, poor choices, religious imagery, and searching for love in all the wrong places is that The Hold Steady never make judgements about any of it.  It's all just shit that happens - live with it and move on.  There's something that's very reassuring in that - with time and perspective, we can look back on our dirty pasts and make some sense of it all.  "How a Resurrection Really Feels" may be the penultimate song in the album's cycle (as far as the characters go - with Holly crashing into a church and pleading with the priest to allow her to preach her own private gospel to the congregation - her own personal resurrection), but for me, "Stevie Nix" is the song in which Finn pulls it all together.  He can't decide which he'd rather be - seventeen forever, or thirty-three forever.  In the end, it doesn't really matter - would you like to make mistakes over and over again, or have the time and perspective to look back on them fondly or otherwise?  This is where I am tonight, dear readers - stuck between stations on how I feel about where I am - pretty sure that 33 is fine with me, but oh, to be 17 again and make those glorious mistakes a few more times...

You can bet that Separation Sunday will be cued up for a while in the Cuddle Cruiser... enjoy these:
The Hold Steady - Separation Sunday (2005):
"Cattle and the Creeping Things"
"Your Little Hoodrat Friend"
"Stevie Nix"
"How a Ressurection Really Feels"

Until next time, let the sounds of the Hold Steady sing you through summer... and listen...

Let This Be My Annual Reminder That We Can All Be Something Bigger

Well, faithful readers, it's Fourth of July weekend, and a long weekend at that.  Always a bonus when the Fourth falls on a Monday (and when you don't have to work any of the three days).  I've been told recently that my tastes in music are a little too serious and sad and dour.  Today I've decided to change that up a bit, with a patriotic mix celebrating everything that makes July 4th great.  And no invites to all of you British artists - just for today, The Cuddle is declaring its independence from the likes of Costello, Bragg, Hitchcock, and Bowie.  We're bleeding red, white, and blue (and not in the form of the Union Jack, either... although Billy Bragg's "Take Down the Union Jack" would be appropriate here, we're going to stick to our guns!)

The 2011 Ideological Cuddle Independence Day Setlist:

1. Pixies - "The Holiday Song" - from Come On Pilgrim - We don't have to work, so it must be a holiday (or we're unemployed).  Pixies start us off with some of their trademark noise.
2. The Hold Steady - "Constructive Summer" - from Stay Positive - It would be nice to have a constructive summer, but if that doesn't work out, we've always got booze and great friends (two things that we're lucky to have in spades here at The Cuddle).
3. Jeff Tweedy & Jay Bennett - "Summerteeth (Live)" - A beautiful acoustic take on one of the standout tracks from Wilco's album of the same name, taken from a terrific soundboard bootleg recorded in the summer of 1999.  Not quite sure what Summerteeth are, but they sound appropriate.
4. Josh Ritter - "Snow is Gone (Live)" - from The Horseshoe Tavern, Toronto, 2/15/07 - The snow better be gone by July 4th.  Josh Ritter's rousing, singable anthem from 2003's Hello Starling (whose title is taken from the song) gets you up and dancing - like the crowd at Asbury Hall on July 7th - where Ritter will be performing.  You know that we'll be there.
5. Queens of the Stone Age - "Feel Good Hit of the Summer (Live)" - from Amsterdam, 2002 - Well, once the party gets rolling, it might get out of hand, and Josh Homme and Nick Oliveri are the perfect dudes to set the (eight) ball rolling.  Basically a list of the band's favorite drugs with a smattering of awesome guitar, the song might not be a feel good hit for everyone.
6. Tom Waits - "Come on Up To The House" -  from Mule Variations - Such a nice welcome by our old friend, Tom.  If Waits were throwing a 4th party, I'd sure like to be there, but it would most certainly be a strange affair.  I've been listening to a lot of Waits lately, and it wasn't easy to find a tune that would fit this setlist and not be "a grand weeper" or "a grim reaper" as his songs have been categorized.
7. Ryan Adams - "Firecracker (Live)" - live from Vega, 11/20/02 - Gotta have fireworks for an Independence Day party.
8. Ryan Adams - "To Be Young (Is To Be Sad, Is To Be High) (Live)" - from Austin City Limits, 2002 - And, inevitably, the kids are going to get out of hand and end up drunk, or high, or both.  This song encapsulates all of the folly of youth pretty perfectly.
9. Sonic Youth - "Teenage Riot" - from Daydream Nation - Once the kids are high and drunk, expect a riot.  Not to be confused with "Teenage Dream" by Katy Perry (as someone so stupidly did recently... oops).  Sonic Youth represent all that is great about 80s underground rock (and I already posted Husker Du stuff a couple posts ago).  This track is legendary.
10. The Black Crowes - "She Gave Good Sunflower (Live)" - live from The Filmore West, 8/10/05 - I'll leave it to you guys to figure out what this song is about (it's the Black Crowes, take a wild guess).  Either way, an excellent summer anthem to keep the party going.  God bless The Black Crowes (and please come back for another reunion tour, we miss you already).
11. She & Him - "Bring It On Home To Me (Live)" - From KCRW, 2008 - Where there's partying, there's lovin'.  She & Him (Zooey Deschanel and M. Ward for the uninitiated) do the late, great Sam Cooke proud on their version of his 1962 classic.  Just a perfect, rolling, summer song.
12. Television - "Marquee Moon" - from Marquee Moon - The moon is out, we're waiting for fireworks, and the opening guitar line of this post-punk classic kicks in.  Angular, addictive, and insistent, "Marquee Moon" is the finest statement the band ever pronounced.  It's an American classic.
13. Talking Heads - "Heaven (Live)" - from The Starlight Ballroom, Los Angeles, 1979 - "Everyone is trying to get to the bar/and the name of the bar, the bar is called Heaven" - a beautiful couplet from the masters of art rock.  David Byrne and company have tons of amazing songs.  This one is clearly one of my favorites (especially the duet version between Byrne and Tina Weymouth from the Stop Making Sense concert film).
14. Sam Cooke - "A Change Is Gonna Come" - from Ain't That Good News - From the best soul singer ever, comes his most stirring anthem.  To remind us all that it takes great sacrifice to make great change, but we can all make it happen.  The song was the b-side to "Shake" and was released posthumously a short 10 days after Cooke was tragically shot under mysterious circumstances.  The song went on to be a civil rights anthem and was used in the Obama campaign as well.

I hope everyone has a wonderful 4th of July, surrounded by friends, family, and celebration.  Remember to take some great music with you, wherever you are picnicking or grilling... and listen.

Sometimes Lonely Isn't Sad

It's near year end here at The Cuddle and a time to reflect on all of the bountiful pleasures that 2010 has  brought us.  It's a time to be thankful for all that we have and look forward to all that is yet to come.  Today, we kick off the Ideological Cuddle Top Ten Albums of 2010 countdown with the two albums that didn't quite crack the top 10 (but were very noteworthy none-the-less), the top re-issue(s) of the year, the biggest disappointment of the year, our favorite concerts of the year, and some notable bands that may not have released a new album this year, but rose to the top of our play lists time and time again.
Without further ado...

The Biggest Disappointment of 2010 - The Hold Steady's Heaven Is Whenever

Now, by no means do I think that this is a bad album, per se.  It's just such a colossal disappointment.  Coming off of 2008's triumphant and epic Stay Positive, the Hold Steady were on quite a roll.  They had risen to the forefront of indie rock, had websites, print journalists, and fans drooling over their trademark mix of boozy bar rock and literate lyrics.  Then they felt it necessary to go in a "different direction".
(A quick aside... Is it ever really necessary for a band who does what they do well to "reinvent themselves"?  It's such an overrated, bullshit move, and it's usually pushed by the media - "such and such is in such a rut, they need to reinvent themselves" - B-U-L-L-S-H-I-T.  Bands who are good at one thing should stick with that one thing.  There are only so many Elvis Costellos and David Bowies who can create new sounds with each subsequent album and dip their toes in different genres without sounding completely idiotic.  The Hold Steady should have heeded this.  Ok, now I'm done... back to your regularly scheduled blog post...)
So that different direction is Heaven Is Whenever.  There are a  few gems on this record ("Hurricane J", "The Sweet Part of The City", and "We Can Get Together"), but there are plenty of clunkers ("Soft In The Center"?  "Barely Breathing"? - P.S., don't write songs that remind people of Duncan Sheik - "Rock Problems"?  Yeah, there are problems here).  I hate to say it, but this band REALLY misses Franz Nicolay.  Maybe the magic will return with their next record.  We here at The Cuddle can only hope so, since we love this band and all of its previous albums.

Bands That We Came To Love In 2010 (But Should Have Loved Before) :
Pavement
This is a no-brainer.  No band was on our iPod, computer, CD player, turntable more this year than Pavement.  It's fitting that Pavement made a triumphant return to playing live this year as well (I didn't have the pleasure of seeing them in person, but nyctaper's recordings of their shows made me feel like I was there).  I know that I didn't want to jump on the bandwagon because I thought that there was no way a band could live up to all of the indie hipster hype.  I know now that they do.  They really, really do.  I was wrong and I wholeheartedly admit it.  It all started with the career retrospective Quarantine The Past in March.  By the start of December, I owned every one of their full length albums in some shape or form.  Theirs is a catalogue that I cherish and listen to almost every day.

Teenage Fanclub
OK, I had heard of this band in the past, but had never made an effort to seek out their music until hearing about their 2010 release, Shadows.  It was all down the rabbit hole from there.  Their sound is right in my wheelhouse - jangly guitar pop, catchy as hell, sugary sweet harmonies.  You'll be hearing more about them in the days to come.

The Top 3 Concerts of 2010 :
3. My Morning Jacket - CMAC, Canandiagua, NY - August 28, 2010 - Our second time seeing My Morning Jacket was kind of a birthday performance celebration for us, as Mrs. Cuddle and I had celebrated my 33rd bday the day prior.  The New Pornographers opened the show in fantastic fashion (even in the absence of Neko Case) and Jim James and crew absolutely tore the roof off.  There is no band working today who can match the playing chops of My Morning Jacket and this show proved it.

2. The Black Crowes - Tower Theater, Philadelphia, PA - October 29, 2010 - Mrs. Cuddle and I based an entire weekend in Philadelphia around this concert in celebration of our anniversary.  With this tour being billed as their farewell, there was no way that we were going to miss one of our favorite bands for what could be the last time.  They did not disappoint.  Starting with an acoustic set and closing with a marathon electric set, for 3 hours the Crowes reminded the faithful why they're so beloved.  Their encore seemed hand-picked for Mrs. Cuddle and I - our all-time favorite Crowes song, "Feathers", followed by Mrs. Cuddle's recent favorite, "I Ain't Hiding".  All of the Crowes' shows are available for download (for a nominal fee) from the Crowes' live music site.  I highly recommend this show.  Here's a taste:
The Black Crowes - Tower Theater, Philadelphia, PA - 10/29/10 - "Hotel Illness" (Acoustic)

1. Robyn Hitchcock - The Drake Hotel, Toronto, Ontario, Canada - June 12, 2010 - I already waxed poetic about this show (and showed off the BFF's nifty camera work) on this previous post.  I still can't wrap my brain around the fact that I was able to see one of my favorite artists in such an intimate, acoustic setting.  Hitchcock was perfect from the first notes of "Cynthia Mask" to the final strains of a gorgeous cover of The Grateful Dead's "Candyman".  I can't really say much more than what I've said already.  It was just plain perfect.

The Best Re-Issues of 2010 - The Soft Boys' Can of Bees and Underwater Moonlight
I like to think of The Soft Boys' first two records as "Proto-Hitchcock".  While they contain the essential elements that would make Robyn Hitchcock such a singular and original songwriter, their sound was much more hard-edged and driving.  These records tend to rawk more than Hitchcock records.  Yep Roc's reissues came with download codes giving the buyer a plethora of outtakes, demos, and live versions, making each of the albums great values for the money.  Can of Bees is the lesser known of the two, but is by no means inferior.  It takes true balls (or insanity) to start a debut record with the lyrical couplet "I feel like asking a tree for an autograph/I feel like making love to a photograph", but The Soft Boys do it.  Standouts like "Leppo and The Jooves", "Sandra's Having Her Brain Out", and "The Pigworker" stand with Hitchcock's finest compositions (and are bat-shit crazy, to boot).  Underwater Moonlight gets more of the publicity as a touchstone in the indie rock canon and a favorite of many of indie/college rock's favorite progenitors (such as Peter Buck from R.E.M.).  "I Wanna Destroy You" is a stone-cold classic (and has been covered by the likes of Uncle Tupelo and The Goo Goo Dolls), "Queen of Eyes" is my favorite Soft Boys song (and has continued to persist in Hitchcock's sets to this day), and "Underwater Moonlight" might be the catchiest (and ONLY) song about couples suicide ever written.  Check out a taste of Hitchcock's madness:
The Soft Boys - "The Pigworker" - Can of Bees
The Soft Boys - "Queen of Eyes" - Underwater Moonlight

The Best Albums of 2010 - Honorable Mention :
She & Him - Volume Two - More gorgeousness from M. Ward and Zooey Deschanel, following 2008's Volume One.  Ward and Deschanel managed to pen a timeless single - "Thieves" - which made me recall Papa Cuddle's Roy Orbison records, and was easily one of the 5 best songs I heard all year.  Let's be honest, Zooey could just sing the phonebook and I would rave about it.  There's no such thing as too much Zooey.
Grinderman - Grinderman 2 - As with my comment regarding Ms. Deschanel, there's no such thing as too much Nick Cave (although, sometimes he needs to be taken in small doses).  Grinderman's second record is just as over the top as their first (although it contains nothing as ballsy as "No Pussy Blues").  Grinderman tends to be Nick Cave's id - dirty, debaucherous, lecherous, filthy, funny.  "Heathen Child", "Worm Tamer" (yes, this song is about his woman's prowess with, um... well, you know... and yes, it includes the classic lines, "my baby calls me the Loch Ness Monster/Two great big humps and I'm gone").  It's well worth checking out.

We'll return with the "official" start of our Top 10 countdown in the next few days.  Until then, remember all the great things about the past year, and listen.

The Dew On The Cobwebs Shines Like Gold

My love for everything Robyn Hitchcock is well known.  Autumn is the perfect time to take in his brand of off-kilter psych-folk-rock.  Last week saw the re-release of his classic Soft Boys records Underwater Moonlight and Can of Bees on Yep Rock (purchase them HERE and get 30 BONUS TRACKS) and it's easy to see, from a cursory listen to Underwater Moonlight, where the roots of Hitchcock's muse lies.  His skewed genius is in full effect with classics such as "Queen of Eyes", "I Wanna Destroy You", and "I Got the Hots". 
The tunes below are from The Soft Boy's reunion tour of 2001 :

"Kingdom of Love"
"Queen of Eyes"
"I Wanna Destroy You"

And some bonus Hitchcock - performing two of my favorite tunes (each kind of summing up my recent melancholic mood).  Despite Hitchcock's success with The Soft Boys, The Egyptians, and The Venus 3, he is best heard solo (his guitar skills are underrated and stellar) - here's a taste:

"My Wife and My Dead Wife"
"Autumn Is Your Last Chance"

Until next time, remember that "Autumn Is Your Last Chance" (because it very well might be), and listen...

The Walls Are Closing In Again, Oh Well

Good Evening, my pretties.  Sunday night.  Stoner Rock.  Close to Halloween.  Must be Queens of the Stone Age.  But stoner rock is such a cop-out.  What Josh Homme has been able to do with the Queens is indulge his base desires (in comparison, Them Crooked Vultures allows him to indulge his Led Zeppelin hero worship and re-write the blues) and meld rock, blues, punk, and multiple types of metal.  Homme has a true knack for writing catchy, heavy melodies and is smart enough to surround himself with some really talented musicians.  Who else but Josh Homme could get Dave Grohl to take a hiatus from being the Foo Fighter's front man and go back behind the drum kit for the first time since Nirvana?  Listen to Grohl's drumming in "Song for the Dead" or "Avon" - the only word that can describe his sound is FURIOUS.  His propulsive sound pushes the rest of the band forward at such a clip that the entire thing threatens to bust at the seams.  When Homme wrote songs that required a sort of "lived-in" voice, he went out and snagged the most grizzled of rock veterans - Mark Lanegan.
Here's a taste of the Queens - with Dave Grohl in full effect behind the kit, and Nick Oliveri holding down the low end on bass - Live at the Glastonbury Festival in 2002 playing "Regular John" :




And here are some further QOTSA tunes for your listening pleasure, live in the 2002-2005 era with Grohl on drums:
"Monsters in the Parasol"
"Song for the Dead"
"I Think I Lost My Headache"
"Avon"
"No One Knows"
"Tension Head"
"Regular John"
"The Lost Art of Keeping A Secret"
"You Think I Ain't Worth A Dollar, But I Feel Like a Millionaire"

Until next time, prepare for All Hallow's Eve with some Queens of the Stone Age... and listen...

I'm Alive After 1,000 Years

It sounds like hyperbole, but the title is apropos.  It seems like 1,000 years ago that Sleater-Kinney broke up.  It's had to believe that it's been 5 years since The Woods blew the doors off of everything else that was hanging around the fringes of indie rock and 4 years since Sleater-Kinney called it quits.  Thankfully, fans have a new reason to rejoice and celebrate.  Roaring out of the Pacific Northwest - a three-headed hurricane with breasts - was the troika of Janet Weiss (she wasn't the original drummer, but she was the important one), Carrie Brownstein, and Corin Tucker.  They were perfectly suited for one another  - Tucker's lyrical genius over the top of Brownstein's squealing/thundering guitar and Weiss' heavy back beat.  They couldn't just be pigeon-holed as a great grrrl group - they were a great group period.
S-K's early albums comprise blasts of pure punk ("A Real Man" from their self-titled debut, "I Wanna Be Your Joey Ramone" and "Call the Doctor" from Call The Doctor come to mind) with screeching noise ("Heart Attack").  While their first album has a few clunkers and is kind of uneven, their second and third albums may be their best.  Call the Doctor and Dig Me Out are both soaked with punk rock energy delivered from a distinctly feminine perspective (although not so feminine that it alienates male listeners).  Dig Me Out is truly where S-K hit their stride - loaded with classics, the record is a taut, tense package.  "Words and Guitar", "Little Babies", "Dig Me Out", and "Dance Song 97" are my favorites.
After garnering significant attention with those releases, the band could have rested on their laurels and put out a carbon-copy of Dig Me Out.  Instead, they chose to go their own direction, open up their sound, turn down the anger slightly, and release The Hot Rock.  This album tears fans down the middle.  Songs like "The Size of Our Love", "The Hot Rock", and "Burn, Don't Freeze" are cerebral, heart-felt, and somber.  This record proved the band's range - not only could they rock out, they could ease back and give a message as well.
For my money, the final three records in the S-K catalogue are the band's finest.  All Hands on The Bad One contains great song after great song - "All Hands On the Bad One", "Ironclad" (how many bands can you name that can write balls-to-the-wall rock and roll allegory songs likening arguments between hard-headed lovers to the battle between the Monitor and Merrimack?  None besides S-K?  Thought so.), "Youth Decay", "#1 Must Have", and my personal favorite, "Milkshake & Honey" - sexy, dirty, longing goodness.  You won't find a better pure rock record from the 2000s.
After the events of 9/11, the ladies in Sleater-Kinney felt it necessary to look inward toward what was really important.  By this time, Corin Tucker had a daughter, and living in a world where our safety was suddenly thrown into question colored the songs that comprise One Beat.  "Far Away" is downright harrowing and the feeling of claustrophobia and xenophobia is palpable.  It may be the finest post-9/11 song out there.  Check out the first stanza:
"7:30am, nurse the baby on the couch
    Telephone rings: Turn on the TV, watch the world exploding fast, don't leave the house"
and later - "Don't breathe the air today" and, finally, questioning the meaning of it all - "why can't I get along with you?" - while questioning the powers that be -
"And the President hides, while working men rush in and give their lives/I look to the sky and ask it not to rain on my family tonight"
The band's swan song, The Woods, allowed the grrrls to go out on top.  A bruising, full-force gale of a record, it includes one of the finest songs of the past 15 years, "Jumpers", a song that perfectly shows off each of the member's strengths - Janet Weiss is a powerhouse of drumming fury - pounding the skins with precision.  Carrie Brownstein's guitar lines are sharp and cutting - alternating between the bouncy bop of the body of the song to the ferocity of her solos on the breakdowns.  Finally, there's Corin's howl.  There is no finer vocal instrument in indie rock history - somewhere between the screech of Chris Cornell and the blues yelp of Janis Joplin, Tucker's voice slashes everything in its path.  We shouldn't discount the power and the harrowing nature of the song itself - a solemn taken on suicide, there might not be a more heartbreaking line in rock history than "4 seconds was the longest wait".  Here are the ladies in action, playing this song, on The Henry Rollins Show:



The Woods also contains the epic, 11 minute "Let's Call It Love" - a sprawling, lumbering, beast of a song, and one that would make Jimmy Page and Robert Plant green with envy.
When S-K announced their indefinite hiatus in 2006, the indie music community was shocked, but hopeful that the ladies would take a break, then reform quickly.  Alas, to this day, Brownstein, Weiss, and Tucker have not come together in any way, shape, or form.  What fans of the band do have now is a new record from Corin Tucker under the moniker of The Corin Tucker Band.  1,000 Years is NOT a Sleater-Kinney record (although fans of the band will not be able to help but feel a little nostalgic at bits and pieces of the album).  It is a thoughtful, mature, and well-crafted group of 11 songs that reflect where Corin Tucker is mentally and emotionally today.  Gone is the anger, present is the longing of missing one's spouse ("Half A World Away"), the dangers of estrangement after years ("Riley"), and thoughts on the recession ("Thrift Store Coats").  Listen to "Doubt" - it's the most S-K-ish of any of the songs - you get some of Tucker's yelp with a little S-K fire in the guitar solo.  "Half A World Away" sounds like One Beat's "Combat Rock", but slowly burns without an explosive payoff.  It's nice to have any transmissions from any of the ladies in Sleater-Kinney.  1,000 Years should tide us over until Brownstein and Weiss release the debut album from their new project, White Flag, sometime in 2011 on Merge Records.
In the meantime, we'll always have the fiery performances that Sleater-Kinney was so famous for.  Check out some live goodness from the grrrls:
Sleater-Kinney Live in Vancouver, BC, 2006:
"You're No Rock and Roll Fun"
"O2"
"Oh!"
"Get Up"

Sleater-Kinney Live on KBOO Radio, Portland, OR - "Drinking From Puddles" Show:
"Light-Rail Coyote"
"Funeral Song"
"The Remainder"
"Far Away"
"Call the Doctor"
"Youth Decay"

Until next time, check out Corin Tucker's new record, 1,000 Years out on Kill Rock Stars now, remember the finest straight-ahead rock band of the last 15 years, Sleater-Kinney, and don't forget to listen...

I'm Down Here For Your Soul

As we move closer and closer to Halloween, one's thoughts tend to wander off into the macabre.  Nick Cave and his many projects tend to be the perfect soundtrack for this time of year. 
Cave deals in the things that rattle around in the back of men's minds, out of sight of the rest of the world - deviant sex, gruesome murder, the evils of religion, lust, greed, and even hate.  Early in his career, he had a tendency to alternate aggressive, evil albums with quieter, more introspective ones.  His sound is clearly informed by Leonard Cohen (some have said that, without a Leonard Cohen, there wouldn't be a Nick Cave - he might still be making loud, abrasive post-punk with The Birthday Party).  Cohen's influence is all over Cave's The Boatman's Call, No More Shall We Part, and parts of The Lyre of Orpheus - quiet, introspective affairs that show off Cave's trademark baritone and emotive songwriting.  No song of this ilk is more beautiful than "Love Letter" from 2001's No More Shall We Part.  Here's a beautiful live version on The Late Show with David Letterman with the McGarrigle Sisters singing back-up (the visual quality isn't great, but the performance more than makes up for it) :



Cave is not afraid to delve into pure rock and roll either - not that his version of rock and roll is anywhere near "pure".  The cast of characters that have comprised his Bad Seeds over the years are a who's who of avant-garde talent - legendary guitarist Blixa Bargeld and violinist Warren Ellis among them.  They add dissonant flashes to Cave's compositions and add a flair missing from 99% of the music out there today.  Bargeld has since left the band, but Ellis' signature can be found all over recent masterpieces Abattoir Blues/The Lyre of Orpheus and Dig!!! Lazarus, Dig!!!.  He's also an integral part of the Grinderman project (who I've waxed poetic about in the past). 
To truly appreciate the Bad Seeds' genius, they must be experienced live.  If you can't find them in your town (they're not currently touring as Grinderman is), check out The Abattoir Blues Live tour document - overflowing with 2 live CDs and 2 live DVDs of Bad Seeds madness.  For more, I've dug out some live bootleg tunes from the vaults for your enjoyment. 

Nick Cave and the Bad Seeds - Live from Copenhagen, Denmark on November 19, 2004:
"God Is In The House" - Another beautiful, quiet, introspective tune from No More Shall We Part.  It's a song that pokes fun at religion, prejudice, and the denial that many of us live in.
"Easy Money" - More introspection, this one from The Lyre of Orpheus.  I've thought about the meaning of this song a lot over the years - I've come to the conclusion that the subject of the song has chosen to do some unsavory (and likely unclean) things in order to allow his family to survive, but I'm always up for further interpretation.
"Babe, You Turn Me On" - This one's deviant.  Also from The Lyre of Orpheus, "Babe You Turn Me On" seems gentle and loving on the surface, but upon closer inspection, the singer's "babe" is being hunted like prey, and the singer is NOT being invited to seduce the object of his desire.
"Red Right Hand" - The quintessential Nick Cave and The Bad Seeds song (mostly because it's the most recognized), I've always felt that the main character in this song would make a terrific Halloween costume (while Mrs. Cuddle claims that no one would know who I was - she's likely right).  It has always been the chimes that make this song stand out from a sonic perspective, and the image of a Something Wicked This Way Comes-type protagonist, willing to give anyone anything (for a price), that make the lyrics stand out.

Live in Germany on May 21, 2008:
"The Lyre of Orpheus" - A terrific song that turns the Greek myth on its head, this version is most notable for the crowd singing along with Cave, creating an eerie choir.
"Moonland" - One of my favorite tracks from Dig!!! Lazarus, Dig!!!.  I could imagine this song in lounge version, being sung in Vegas by Sinatra.  Zombie Sinatra, but whatever.
"Deanna" - Legendary in the Cave canon, "Deanna" is from 1988's Tender Prey.  It's raucous, pleading, and sexy.  That it is still filling setlists 20 years after it's initial release is a testament to it's staying power.
"Into My Arms" - More tenderness, this time from The Boatman's Call.

Bonus Live Bad Seeds from various sources - each song is from Murder Ballads :
"Henry Lee (with PJ Harvey)" - I love this traditional song, manipulated to Cave's sensibilities.   One of two duets on Murder Ballads (the other is just as beautiful - "Where the Wild Roses Grow"  with Kylie Minogue), the voices of Cave and Harvey meld beautifully (as did, presumably, their bodies, as they were a couple for a while).  The macabre pairing of Harvey and Cave was almost too perfect, and their relationship didn't last all that long.  We still have this song to remember it.
"Stagger Lee" - Not for the faint of heart, this version of the traditional Stagger Lee is peppered with more f-bombs than almost every other song that I know of.  Beyond the colorful verbiage is the violence - Cave doesn't spare any gruesome detail of the fateful night in The Bucket of Blood bar.

Until next time, enjoy the various moods of Nick Cave (check out his albums as well - Mute Records is in the process of re-releasing everything in the catalogue), and listen (but maybe not too closely if you're faint of heart)...

I've Been Crowned The King of It and It Is All We Have

Evening, y'all.  Quite the tough week here at the Cuddle, as it was not the easiest past 24-48 hours in sick kids land.  Another week of call in the books... and we move deeper into our favorite season, Autumn.  nyctaper is quickly becoming our favorite blogger of all time, not just for the sheer admiration that we have for his craft, but, now, for his taping of EACH of Pavement's shows at Central Park Summer Stage in NYC this past week.  He has each of the shows up for free download (in MP3 version on the site, in FLAC form if you email him).  I encourage each of you to head on over to his site and listen to each of the shows.  They're breath-taking in their variety and sheer duration (each show runs about 2 hours and 30 minutes).  The quality is fantastic as well (considering the venue and lack of a ceiling).  You'll find a preview of some of those shows below.

Can't say that there's a whole lot more on my mind right now.  Just kind of feeling burned out.  Need to recharge.  Peep some Pavement here: 
MP3s REMOVED DUE TO COMPLAINT.
Pavement Live at Central Park Summer Stage:
September 21, 2010 :
"Perfume V"
"Frontwards"
"Silence Kit"
"Grounded"

September 22, 2010:
"Starlings On The Slipstream"

September 23, 2010:
"In The Mouth A Desert"

September 24, 2010:
"Rattled By The Rush"

Until next time... kiss the ones you love and remind them how much they mean to you... and listen...

I Put A Spycam In A Sorority

While we're cleaning out the cobwebs and talking about favorite things, let's hit another few points.

As Ideological favorite, stereogum points out, it's Pavement week in New York City (they'll hit Jimmy Fallon's show this Thursday/early Friday).  They'll be playing 4 shows in Central Park to the collected throng of hipsters (yeah, I'm jealous) over the next 4 days.  Blogger Big Ass Lens captured some excellent bootleg footage of the last four songs of last night's encore at The Williamsburg Waterfront - "Starlings in the Slipstream" (an Ideological favorite), "Gold Soundz" (ditto), "Kennel District", and "Range Life" (total classic) - check out the Vimeo video below:

Pavement - Starlings Of The Slipstream / Gold Soundz / Kennel District / Range Life from Big Ass Lens on Vimeo.

Yesterday's post of some live My Morning Jacket and Superchunk tunes inspired me to post some tracks from two of our other favorite folks whose albums will be jockeying for position in our Best of 2010 list.  Josh Ritter's So Runs The World Away didn't make a whole lot of noise when it came out (our vinyl copy was procured at Record Store Day a few weeks before the regular release date), but has been quite the "grower".  Ritter's prose is nearly unmatched among current singer/songwriters.  "The Curse" and "Folk Bloodbath" are the standout tracks on SRTWA and live versions from the 9:30 Club in Washington, DC back in May are below.
We've waxed poetic on the awesomeness of Spoon's Transference, which came out in January.  Archive.org, on their Live Music Archive, has a few excellent Spoon shows up for public consumption.  The two tracks below, "Got Nuffin" and "Written in Reverse", are taken from Spoon's set opening for the Arcade Fire at Radio City Music Hall last month (and were taped by another of our favorites, nyctaper).  Enjoy.

Josh Ritter - Live at the 9:30 Club - Washington, DC - May 8, 2010:
"Folk Bloodbath"
"The Curse"

Spoon - Live at Radio City Music Hall - New York City, NY - August 4, 2010:
"Written In Reverse"
"Got Nuffin"

Until next time... spend some time with the music of Josh Ritter, Pavement, and/or Spoon... and listen...

Here's A Song About Nothing And Everything at Once

It's been quite a while, dear readers, but we here at The Cuddle are pleased to be back on the blogging track.  Since we last had a chance to chat (and since we received our most recent threatening e-mail about removing MP3 files) there has been a lot going on in our musical landscape.  We've seen some great shows and heard some great new things that have gotten our fires stoked.  It's a time for change, as we're speeding toward the greatest time of year in sweet, little B-lo - Fall.  Just over 24 hours from now, our calendars will mark September 21st, the start of the Autumn season, and with it, Mrs. Cuddle's favorite holiday, Halloween.  We've got a lot planned between now and then, but in the meantime, on to an update:
On a beautiful late summer evening (August 28th to be exact), Mrs. Cuddle and I ventured to the Canandaigua Music and Arts Center (CMAC from now on) to see two of our favorite bands (to be fair, two of MY favorite bands, ONE of hers) - The New Pornographers opening for My Morning Jacket.  Despite being sans the rapturous Neko Case (felt more than a little slighted there), the Pornos sounded great.  Carl Newman was in fine voice as usual, the band was tight, and Kathryn Calder was downright impressive - not only singing her parts, but covering Neko's as well.  It was a little disappointing that the venue was less than 1/10th full to see one of indie rock's foremost groups, though. 
After a short intermission, the now packed CMAC was greeted by the nattily dressed quintet and its dual guitar onslaught of Jim James and Carl Brommel as they tore into "The Way That He Sings".  For the next two hours, those in attendance were held in rapt attention by what must be the finest live band playing today.  Besides the great setlist and amazing musicianship of the band, what stands out is how much fun they seemed to be having.  Jim James played a variety of guitars (among them, his signature flying-V) and danced all over the stage.  Besides playing most of our personal favorites ("Dondante" and "Wordless Chorus" were sublime), the band played new tune "Circuital" - a live version from an earlier show on 8/17/10 appears below.  This show will rank right up there with the best of our concert-going lives and made us long for their next show in our surrounding area.  A final word on the CMAC - the venue was absolutely perfect.  Great concessions, well-arranged, perfectly clean, great sound, easy parking, helpful staff.  We'll definitely make every effort to go back soon.

Just 5 days later, Buffalo's finest rock venue, The Town Ballroom, played host to another one of rock's most incendiary live acts - The Black Keys.  The room was packed to the rafters as Dan Auerbach and Patrick Carney took the stage and burned through some old favorites (kicking things off, as usual, with "thickfreakness").  They were later joined by a bass player and organist to flesh out the sound of some tunes from this year's masterpiece, Brothers ("Ten Cent Pistol" was a definite highlight).  No one in the crowd left disappointed by The Keys' aural onslaught, despite the huge build-up that the show received in our local media (one would think that a band couldn't live up to the hype... The Black Keys certainly did).

This past Tuesday (September 14th to be exact) was quite the new release day, with 3 albums that will vie for places near the top of The Ideological Cuddle's Best of 2010 list.  First, the always enchanting Leonard Cohen blessed his fans with another postcard from the road of his almost two year 2008-2009 tour, adding to the spectacular Live in London which was released last year.  Songs From the Road is a CD/DVD combo (also available in 2 LP form - $35 was a little rich for my blood despite my obvious proclivity for all things wax) with 12 songs taken from various venues on the tour.  The CD and DVD contain the same material, but no matter.  Take it from a Cohen obsessive - the CD is great, but the DVD is essential.  Just watching a 74 year old musical genius weave his web of intrigue is worth the price of admission.  Each performance is pitch-perfect (Cohen's chilling intonation and impressive guitar playing on "Avalanche" is a highlight), but the version of "Hallelujah" from the 2009 Coachella Fest is TRANSCENDENTAL - try not to get chills as Cohen holds 100,000 kids in rapt attention and gets them to sing along.
Nick Cave's Grinderman project returned this past week with Grinderman 2, another album full of sex and sleaze with a psych-blues bent.  More sonically dense and lyrically evil than its predecessor, Grinderman 2 burns out of the gate with "Mickey Mouse and the Goodbye Man", a wicked tune about two brothers clearly up to no good (OK, that's an understatement - felonious would be a better description).  When the band cranks the volume, thrashing ensues.  Where the first Grinderman record was clearly a mid-life crisis record about hunting tail ("No Pussy Blues" anyone?), this record presents the morose along with the deviant.  The protagonist in "When My Baby Comes" is longingly singing from his hospital bed, waiting for his beloved to show up (hint - she ain't coming), while "Palaces of Montezuma" professes the singer's deep love for his woman with all of the things (corporeal and ethereal) that he'll give to her.  All in all, another feather in Cave's crowded cap of masterworks.  While we're on the topic of Nick Cave, if you like the works of Irvine Welsh (author of Trainspotting and Filth, among others) and Chuck Palahniuk (Fight Club), by all means check out Cave's second novel, The Death of Bunny Munro.  This book is not for those looking for a clean, good time, but for those seeking a little bit of seediness with their literature.  I picked it up while on vacation and couldn't put it down.  I kind of wish I had known about the audio book version, as it's 7 discs worth of Cave reading his prose.  Perfect for the Halloween season.
The final new release from last week that has our ears ringing and our hearts leaping out of their collective chests is the thundering return to form by Merge records superheroes Superchunk.  Majesty Shredding can't be called a return to form, nor can it be called a new direction for the band.  What it can be called is a modern masterpiece of indie power-pop.  Coming through the speakers like a New Pornographers LP turned up to 45 speed, Mac McCaughan and company spin through 11 tracks without a dud in the bunch.  First single "Digging for Something" starts the proceedings off right and the band refuses to slow down throughout 42 minutes of perfection.  Most affecting might be "Fractures in Plaster" or "Everything at Once" - as each muses on getting older, and hanging on to what matters.  I must admit being a little late to the Superchunk party (only falling in love within the past 5 years and becoming full-on obsessed while in Boston earlier this year), but consider me a full convert.  It's hard to believe that there are millions out there unaware of this band's prowess and power.  This record is clearly one of the 3 best that 2010 will see and just might supplant The National's High Violet or The Black Keys' aforementioned Brothers at the top of this year's list.

Here's a live taste of some of the best that My Morning Jacket and Superchunk have to offer:

My Morning Jacket:
Live in Japan - February 6, 2009 - "Dondante"
Live in Chicago, IL - Charter One Pavilion - August 17, 2010 - "Circuital"

Superchunk:
Live at Duke University - September 26, 1997 - "Shallow End"
Live in Washington, DC - 9:30 Club - September 17, 2010 - "Throwing Things"
Live in Washington, DC - 9:30 Club - September 17, 2010 - "Fractures in Plaster"
Live in Washington, DC - 9:30 Club - September 17, 2010 - "Everything at Once"

Until next time, please head out to see a band that you love live in concert and check out the new Superchunk LP - it'll make your day... just listen...

Nobody's Listening, My Friend

Good Evening.  Tonight, we are happy to introduce a new and (hopefully) recurring feature at The Ideological Cuddle.  I had the idea recently to throw some quick hit posts out there, highlighting Top 5 lists (everyone likes lists, right???).  There are tons of ideas bouncing around in my head (and further suggestions are always welcome... leave a comment).  Here's the first :

The Ideological Cuddle Top Five:  Unexpected Covers

1. The Afghan Whigs - "Miss World" - This might be my favorite cover of all time.  Greg Dulli manages to boil the punk roots of the Hole original down into a dirge - comprised of slow marching piano, pleading trumpet, sax, and trombone only.  Courtney Love's lyrics of self-loathing are taken from declaration of independence into funeral rite.  Originally released on the "Somethin' Hot" single, it is well worth seeking out.

2. Elvis Costello - "Beautiful" - Recorded for and initially heard over the end credits to an episode of the TV show House, Costello's take on the Christina Aguilera hit is surprising for its unadorned beauty.  It can be found on the soundtrack to the same show.

3. My Morning Jacket - "Tyrone" (Live on KVRX Radio, October, 2000) - This one shouldn't come as much of a surprise to those of you familiar with MMJ's sound.  Fans know that the band can stretch out into funk territory with the best of them.  Their reworking of Erykah Badu's classic is very faithful, funky, and fully-realized.  Jim James' gentle falsetto sits front and center.  The band has been known to pull this one out of their bag of tricks from time to time live in concert.  Keep an eye out for it (and click above for the real thing).

4. Gillian Welch and David Rawlings - "Black Star" (Live at Bonnaroo, 2007) - I hope everyone out there has heard the Radiohead original of this song, as it's a beautiful, guitar-driven ode to relationships on the brink of disaster, and one of the band's true underrated gems.  Gillian Welch and David Rawlings, alt-country troubadours to be sure, strip away the noisy layers of guitar and feedback, leaving the beautiful, acoustically strummed melody unadorned.  Their voices intermingle beautifully, leading to a stunning performance.  Not to be missed.

5. Ted Leo - "Since U Been Gone > Maps" (Live in Studio) - OK, not only does this track include two covers, but it shows Ted Leo's range (or possibly his insanity... maybe both).  Not many indie rock superheroes would dare cover something as mainstream as a Kelly Clarkson song, but Leo pulls it off with aplomb, showing the song to be a stunningly catchy tune.  His ability to go seamlessly into the Yeah Yeah Yeahs lone hit, "Maps", shows not only his range, but the scary similarities between the tunes.

BONUS COVER!!!  Ted Leo - "Spirit of Radio" (Rush cover Live In Studio) - The awesomeness of this track just speaks for itself - Ted Leo + Rush = Indie Fan Boy Wet Dream (and shit can Ted play guitar).

Until next time, drop your thoughts on future Top 5 lists below, or just feel free to share some of your favorite Unexpected Covers... and don't forget to listen...

I Got A Head Full of Sermons and A Mouth Full of Spiders

Greetings, dear readers.  Today, a glimpse into one of the world's hardest working and least appreciated bands.  For 20 years now (with a couple of hiatuses mixed in), The Black Crowes have been criss-crossing the globe bringing their own brand of dirty rock and roll to the converted masses.  Functioning like a modern-day biblical fable, the rambling, shambling crew that has comprised the Crowes lineup over the years has always been helmed by the brothers Robinson - Chris and Rich.  They fight, they make up, they write, they fight again... and so it's gone for twenty plus years.
To many, the Black Crowes will always be that band that covered Otis Redding, got famous, opened for a bunch of big rock stars, got thrown off more than one tour, wrote "She Talks To Angels", put out a couple more albums, copped the Stones' 70s sound, and disappeared into anonymity.  This couldn't be further from the truth.  Although many mainstream music fans would like to assume that the Crowes disappeared, they clearly have not.  They boast a fan base as committed to their live experience as the most fervent deadheads.
The Black Crowes came screaming out of Georgia in the late 80s boasting a sound that was quite passe at the time (rock 'n roll throwbacks to the previous decade) and made it their own calling card.  Those of us lucky enough to see them live in concert on multiple occasions were never disappointed - they always brought their best, night after night.  As a bonus, they're a taper-friendly band and recordings of shows circulate widely (lately, the band has taken to recording and releasing all of their shows themselves, a la Pearl Jam).
The back-to-back punches of Southern Harmony and Musical Companion and Amorica in the first half of the 90s might be the finest that the decade has to offer in the rock field.  The songs have aged tremendously well and sound like they could have come from any of the past 4 decades.  "Wiser Time" wins the award for "Song Most Likely to Have Been Included in The Soundtrack for Almost Famous Had It Been Written in the 1970s".  Substance driven?  Sure.  But if it leads to art this good?  What the hell...
The Buffalo area has been lucky enough to host some of the band's most transcendental moments - their Spring 1995 Amorica Tour show at Shea's in downtown Buffalo, the band willing a thunderstorm through Darien Center at their July, 1997 Further Festival headlining slot (their version of the legendary B-side "Feathers" followed by the Exile On Main Street classic "Torn & Frayed" that night is not to be missed), the band's triumphant reunion tour as it burned through the Kool Haus in Toronto in 2005, the packed house at The Town Ballroom in 2008 as the Crowes preached the gospel, and the emergence of "I Ain't Hiding" - what can only be called disco-Crowes - at the Harbor concert series last summer.
The stage has been set for a final "farewell" this fall - "Say Goodbye To The Bad Guys" with The Black Crowes is being billed as the bands last hurrah.  The faithful has heard this one before, and the boys always seem to make it back.  This time, it feels like it could be the real thing - none of the members are getting any younger, Chris Robinson has his hands in production (he produced Gary Louris' excellent solo record, Vagabonds, among others) and guests on many records, and Luther Dickinson seems primed to head back to The North Mississippi All-Stars with his brother.  Whatever happens, we, the faithful, have years of recorded concerts to pour over and reminisce with... Here's just a taste...and each is taken from a bootleg source...

The Black Crowes - Live In Concert (sorry... don't remember where each of these are from...)
"Remedy"
"Wiser Time" - The Town Ballroom, Buffalo, NY 2008
"Dreams" (Allman Brothers cover)
"High Head Blues"
"Midnight From the Inside Out"
"Movin' On Down The Line" - The Town Ballroom, Buffalo, NY 2008
"Wounded Bird" - The Town Ballroom, Buffalo, NY 2008
"Black Moon Creeping"

Until next time, raise a glass to the hardest working band in Rock 'N Roll, The Black Crowes, and listen...

I Can't Define Love When It's Not Love

Well readers, this little blog (which I thought that no one actually read) received some complaints over the past week regarding some of our posts.  We seem to have been nicked for posting some mp3 files from bands who don't appreciate that kind of thing.  In response, I'm trying to find a way to still provide those of you who faithfully read the posts in my corner of the universe with some music that I love.  My current storehouse of files doesn't have the capability to share streaming versions of the songs, so I'll be working on that soon.

In the meantime, I'd still like to share some music that I've had kicking around for a while.
The Talking Heads are the first band that I can remember worshipping.  I was well-known among family circles for doing a spot-on impression of David Byrne in the "Once In A Lifetime" video.  I have been known to break out that dance when the occasion is right and I have enough liquid courage surging through my veins.  The band's music mutated over the years - starting with the blueprint for classic NYC post-punk, morphing into MTV-friendly pop, and finally exploring world rhythms.  Their entire canon is excellent and their music doc Stop Making Sense is commonly regarded as the finest of the genre.
Here's a taste of 1979 Talking Heads, recorded live in Los Angeles:

"Stay Hungry"
"Love > Building on Fire"
"Psycho Killer"
"Life During Wartime"
"Take Me To The River"

Until next time, be careful what you listen to and where you find it (a hard lesson for those of us here, I guess), and listen to some Talking Heads...

So Drunk In the August Sun and You're The Kind of Girl I Like

'Sup peoples. Another scorching, sticky hot day here in B-lo. No rain as promised. What does the area need? How about a breeze? The next in the series...

IDEOLOGICAL CUDDLE BREEZY SUMMER MIX 2010
1. Joe Strummer & The Mescaleros - "Mondo Bongo" - What could be better than one of music history's most enduring voices backed by gentle acoustic guitars, fiddle, and percussion in a bossa nova vibe. I truly feel that The Mescaleros albums that Strummer made didn't get nearly enough attention. The records celebrate a global sound, blending Caribbean sounds, Aboriginal rhythms, Indian ragas, and street music, all baked together with the crust of Strummer's punk roots. Each of the albums is recommended, but, for the summer vibe, Global A Go-Go is the way to go.
2. Carlos Santana & John McLaughlin - "Naima" - OK, I'm sure many of you out there had no idea that this album existed. Here's the back story - Santana and McLaughlin, two of history's greatest guitarists, and devotees of Sri Chinmoy and his teachings decide to make an album together called Love Devotion Surrender. They decide to lean more toward McLaughlin's jazz roots, but celebrate Santana's furious rock sound as well. The songs are a combination of Coltrane covers ("A Love Supreme" must not be missed; the above song we'll discuss more in a bit), devotional songs, and originals. Upon its initial release, the album pleased critics, but alienated Santana's fans, being too "jazzy" for many. Further inspection over the years has revealed the album to be a genius amalgam of Santana's love of Miles Davis fusion while adding his own touches. While most of the album is loud and electric, "Naima" is quiet, sedate, and an acoustic guitar duet. It is positively beautiful.
3. Gary Louris - "Angelyne (Live, Solo, Acoustic)" - The original version of this song appeared on The Jayhawk's near-perfect 2003 album Rainy Day Music. Louris and his buddies in the oft-imitated, never-duplicated Alt-Country kings came strolling out of the Minneapolis region in the late 80s and put out a string of beautiful albums that touch on country rock, Byrdsian folk, and straight country, presented with Louris and Mark Olson's beautiful harmonies. This track, taken from a solo acoustic performance earlier this year, is a beautiful performance of a true classic. It includes a gorgeous harmonica part and the entire show is worth hunting down from Cuddle favorite, nyctaper.
4. Imperial Teen - "Ivanka" - A perfect example of indie power pop and another great band from the Merge stable, Imperial Teen struck gold with this track from 2002's On. It is the album's lead track and starts with a classic "1, 2, 3, go..." count-up. This is the soundtrack to heading to the beach, head full of ideas of what's to come. Compelling stuff.
5. Robyn Hitchcock - "I'm Only You (live at the Drake Hotel, Toronto, 6/12/10)" - As outlined in a previous post, I was lucky enough to be present at this show, an intimate affair, during which, Hitchcock presented his considerable songwriting and guitar playing talents. The original version of the above track can be found on Fegmania!, one of Hitchock's excellent 80s albums with The Egyptians. "I'm Only You" showcases Hitchcock's guitar skills and is a perfect example of his sometimes bizarre but always affecting lyrics. Just let the ascending/descending guitar line burrow into your brain and let it live there for a while...
6. Neko Case - "In California" - There are so many choices from Neko Case's catalogue that would be appropriate for this mix, but this song seemed to grab me, not just for its gentle pace and powerful vocal, but feeling of reminiscence that it creates. Sometimes summer isn't just fun and games. Sometimes it's tears and loss. What better way to celebrate that element of summer than swimming around in Neko's voice for 3 minutes?
7. The Magnetic Fields - "Come Back From San Francisco" - A short little ditty from The Magnetic Fields' classic 3 disc monster, 69 Love Songs, "Come Back From San Francisco" is a song of longing - the kind of song that Stephin Merritt was born to write. The song is sung by Claudia Gonson, The Fields's drummer, who is able to bring a special touch to the song.

8. The Faces - "Glad & Sorry" - Easily one of the best songs in The Faces catalogue, "Glad & Sorry" is a Ronnie Lane composition, not one of Ron Wood or Rod Stewart's efforts. The gentle piano line is what snags the listener and the lyrics express regret and thanks. The song is breezy and quiet, pushing Stewart to the background, and Lane to the fore. It's been covered many times, most notably by Billy Bragg, Golden Smog, and The Black Crowes.
9. Josh Ritter - "Lark" - One of contemporary music's greatest songwriters and most talented lyricists, Ritter returned to the fold this year with So Runs the World Away, a typically strong set of tunes. "Lark" wouldn't have sounded out of place on a Paul Simon record (such as Rhythm of the Saints or Graceland). "The Curse" might be the album's best track, but it doesn't fit this mix's goal very well (waltzes + mummies NOT breezy summer).

10. She & Him - "Thieves" - Those who know me, know of my love for all things Deschanel (except her marriage to that dweeb, Ben Gibbard). Her collaborations with M. Ward - 2008's Volume One and this year's Volume Two - are studies in throwback 60s AM radio pop, with Deschanel's beautiful, summery voice front and center. Ward's gentle guitar playing and careful arrangements suit her voice perfectly. "Thieves", the clear stand-out on Volume Two, wouldn't have sounded out of place on a Roy Orbison Sun side from the 50s. The song rolls along on a shuffling, classic pop guitar line, augmented by gentle strings and Zooey's beautiful voice. Ward's backing vocals are barely there, but wonderfully furtive. Perfect for swaying along with your favorite girl, watching the sun set.

11. Pavement - "Gold Soundz" - The prototypical breezy Californian indie band with their prototypical breezy summer song. It needs no further introduction, as it's as perfect as indie rock gets.
12. Tallest Man On Earth - "Graceland" - For those who haven't experienced Kristian Matsson's voice, by all means, click on the above link. You'll find two things. First, his voice hits you like a brick - something akin to Dylan circa Nashville Skyline while inhaling helium, his achy croak is an experience unto itself. Two, his stripped down version of the Paul Simon classic opens the listener up to lyrics that may not have grabbed your attention on the original. The mix puts his voice right in your ear, and primes the listener for a close inspection of Simon's prose - here's a news flash, the subject material isn't as sunny as you'd think.

13. The New Pornographers - "Silver Jenny Dollar" - A Dan Bejar-penned song from The Porno's latest piece of power pop perfection, this year's Together, "Silver Jenny Dollar" is the story of a female rocker who is the singer's unattainable love interest (well, I think that's what it's about... can we ever be sure with a Dan Bejar song?). The outstanding feature of this gem is the insistent "Whoa whoa whoa whoa-wa-wa-wa"s that punctuate the chorus behind Bejar's lead vocal. You really can't go wrong with any New Pornographers records - quintessential summer music.
14. Richard Hawley - "Remorse Code" - Ah, Ideological favorite Richard Hawley. Our love for all things Hawley was professed in THIS post from September, 2009. At that time, Truelove's Gutter was released to rave reviews. One of the centerpieces of that album, "Remorse Code", was re-released as the lead single on the False Lights From the Land EP (on 10" vinyl) which was available from Amazon.co.uk as recently as last week (when I picked up my copy), but seems to be sold out now. Secondary market will have to be the way the rest of you pick it up, and it's well worth seeking out. The EP is a collection of songs that revolve around the theme of the sea, with "Remorse Code" spelling out the addiction of the singer's friend in an allegory of being lost in a shipwreck. Heavy subject material, but the 9+ minute epic rolls along on a gentle acoustic guitar line punctuated by Hawley's trademark Gretsch solos. As with all of his best tracks, Hawley's barritone carries the day.
15. George Harrison - "Any Road" - Our favorite Beatle, George Harrison was taken from us much too soon. His post-Beatles output is deeper, more soulful, and more joyful than any of his colleagues. Last year's greatest hits compilation, Let It Roll: Songs By George Harrison compiles a generous collection of his best. "Any Road", from Harrison's swan song, 2002's Brainwashed, is a perfect amalgam of what summer is all about - "Any road can take you there"...
16. Camera Obscura - "French Navy" - I know that their subject matter seems unfit for a breezy summer mix (with album titles like My Maudlin Career and Underachievers Please Try Harder and enough songs about lost love to fill any depressive's play list), but Scotland's Camera Obscura, much like their countrymen Teenage Fanclub, are a summer band. "French Navy" is purely addictive summer bliss.
17. Fleet Foxes - "Drops In The River (Live on Daytrotter)" - Fleet Foxes are an easy choice for this mix, as all of their songs evoke a Summer/Fall natural vibe. Their acoustic sound is the perfect soundtrack for sitting on a porch in the hot sun with friends and a cold beverage. "Drops in the River" starts with beautiful harmonies, but explodes with sound after its opening salvo. This Daytrotter session was recorded prior to the band's ascent to indie folk darlings.
18. Wilco - "The Thanks I Get" - A legendary "bonus track" from Sky Blue Sky (and famous for its inclusion in a Volkswagen commercial), "The Thanks I Get" is a swaying, rollicking tune, and typical for Jeff Tweedy's propulsive songwriting. Many Wilco tunes could fit on this mix, but this one feels just right.
19. Blitzen Trapper - "Lady On The Water" - A song that can only be compared to the best of 1970s Laurel Canyon/Neil Young/AM Radio soft rock (and that's a good thing!). A Blitzen Trapper record is always guaranteed to surprise with every track - psych-rock on one, gentle finger-picked country-rock the next.
20. Big Star - "Thirteen" - We have to end this mix with a total classic. Alex Chilton's ode to teenage love is chill-inducing every time I listen to it. It's a perfect way to end a date... or a breezy summer mix.

Until next time, spend some time with friends out in the summer sun, cool off with this breezy mix... and listen.

UPDATE - LINKS REMOVED DUE TO COMPLAINTS... sorry, you'll have to seek these songs out for yourself... trust me, it's worth the work...

For Someone Half As Smart, You'd Be a Work of Art

Good Evening, dear friends and faithful readers.  Tonight, I reflect upon one of my favorite artists and just how much he has in common with my city.  The panoramic view of the gorgeous-looking skyline above is none other than down-on-its-luck Buffalo, taken by yours truly from the deck of the Miss Buffalo cruise ship as it ferried myself and 70 other friends up and down the shores of Lake Erie this past Friday.  Gazing out on my city made me realize, again, how beautiful it can be, yet made me sorrowful for all of the architectural beauty that our city has lost - by neglect or plain ignorance.  A similar neglect and ignorance plagues the memory of Elliott Smith.
On a gloomy October evening, nearly seven years ago, I was hard at work at a busy shift in the emergency room of the Women and Children's Hospital of Buffalo when word began to trickle down of "another depressed junkie musician suicide".  My co-workers that evening derided and mocked this "sad-sack" musician who had apparently stabbed himself with a knife, close to the heart.  Only after some of the initial hub-bub had settled down did I find out that the identity of that musician who died by his own hand that night was Elliott Smith.  It was very difficult for me to finish my shift, as Smith's music had kept such a special place in my consciousness.  I knew he was fragile - his depression and drug abuse were somewhat legendary - but his music constantly seemed like a cry for help; a narrative to a deeply scarred man's life.  He was also deeply shy - one look at his live performance of his Oscar-nominated "Miss Misery" on the Academy Awards ceremony in 1998 drives this point home strongly - and was famous for shyly and rarely interacting with his audiences at live shows.  It might have been that shyness or that fragility that led him not to seek further help in the dark days leading up to his suicide.  He has left a recorded legacy that seems to parallel that of another deeply flawed and internally wounded singer/songwriter - legendary British folk troubadour, Nick Drake.
Although our city isn't dead, Buffalo has been on life support for decades, now.  Like Smith, our city has wonderful potential, yet it somehow gets flitted away year after year - each capable of great beauty, yet always seeming sad and downtrodden to those who consider it/him.  Fortunately, our city has hope (just as Elliott did prior to plunging that dirty knife deep into his chest) - there are signs that the "brain drain" that so famously takes our doctors, lawyers, and professionals tutored at the University at Buffalo away from us is slowing.  Our housing market hasn't taken the plunge as so many cities' markets across the country have, and our downtown area, slowly but surely, makes a little more of a comeback every year.
As years have passed, it seems as though the memory of Elliott Smith has faded slightly, as has the memory of Buffalo's storied past.  His songs are as powerful as any in the last 20 years - for their message of loss, addiction, hope, and struggle.  The photographer Autumn de Wilde released a beautiful posthumous photograph book entitled Elliott Smith in 2007.  Some photos from the book are available for viewing at de Wilde's website - HERE.  The book is an intimate photographic look into an artist who constantly tried to avoid intimacy.  I encourage each of you to check it out (a copy proudly lives in the Ideological Cuddle's archives). 
It would truly be a shame for those of us who care so deeply about music to allow his legend to disappear.  Although each of his albums are wonderful, the most affecting songs Elliott Smith ever committed to tape tend to be those that are stark and spare - just his wounded voice and a guitar.  Below, you'll find a collection of solo acoustic songs that Elliott recorded in February of 1999 live in studio for broadcast.  It contains two of Smith's most heartfelt and affecting songs - "Baby Britain" and "Waltz #2 (XO)", each found in studio form on his breakthrough record, XO.  I truthfully had no idea I owned this music, but I'm proud to share it with all of you out there.  The songs are bleak on the surface, but give them a chance - Smith's light will shine through (and one day, so will Buffalo's).

Elliott Smith - Live at Glen Sound Studios, Seattle, WA - February, 22, 1999 :
"Happiness" (please excuse the annoying radio host at the outset of the track)
"Son of Sam"
"Baby Britain"
"Everything Reminds Me Of Her"
"Rose Parade"
"Waltz #2 (XO)"

Until next time, remember the good things about The City of Good Neighbors, find some Elliott Smith, and listen...

If I Make It Through Today, I Know Tomorrow Not To Leave My Feelings Out On Display

Greetings Ideological Readers... Today's post has a somber, yet celebratory tone.  We here at the Cuddle found out that the Ideological Sister-In-Law was admitted to a local hospital for ongoing evaluation of of GI issues.  Our thoughts and best wishes are, of course, with her for a speedy recovery.  At the same time, we celebrated the 15th anniversary of the life-saving transplant that sustains me today.
Thinking about the anniversary of my transplant always reminds me of when I was diagnosed with renal disease in February of 1993.  At that time, as referenced in previous posts, Evan Dando's honey-drenched voice carried me through the roughest 2 weeks of my life.  During that time, laid up in a bed at the Women and Children's Hospital of Buffalo, I listened to The Lemonheads' It's A Shame About Ray seemingly one hundred times.  To this day, I can hear each of the tracks of that record top to bottom when I close my eyes.  Each of Dando's lyrics is gospel to me.  In retrospect, it's interesting that a musician with such a checkered history of drug use and ill health, should bring such hope to an infirmed 15 year old.
As time has passed, some have discounted The Lemonheads' standing in the pantheon of 90s indie pop, but I haven't, nor will I ever.  It's A Shame About Ray will always remind me of a time and place that I had no control over, nor did I understand.  Each of the album's 13 tracks (yes, I had the later pressing of the cassette that had "Mrs. Robinson" tacked on to sell more records) were and are pitch perfect.  Their brand of sunny rock was perfect then, as it's perfect now.  Their music fits well with today's events and with the recent Summer Mix themes of the Cuddle posts.  Below are just a few of the gorgeous tunes on the record, presented in live form from a show recorded at The Lemonhead's heyday in 1994.  I hope you enjoy them, and wish nothing but good health to all of you loyal readers out there...

The Lemonheads - Recorded Live in Concert - 3/20/1994 At Kiamesha Lake, NY
"Confetti"
"It's A Shame About Ray"
"Rockin' Stroll"
"Rudderless"

Until next time, give thanks to good health, family, and friends, get well Katie, and listen...

Here Is A Sunrise, Ain't That Enough?

Good early morning, y'all. Sometimes late evening coffee can have effects other than insomnia, namely, the spark of inspiration for a blog post. Deviating just slightly from the theme set out by the last post, we here at The Cuddle would like to bend your ear about a band that is bending our ears lately, and will continue to all summer long.
The band that we've decided will provide the soundtrack to the summer of 2010 is none other than those long-forgotten progenitors of indie power pop, mantle-carriers of tuneful, timelessly crafted melodies, forefathers of the Glaswegian twee movement, Teenage Fanclub. Their sound is perfect for lounging in the sun, throwing back a few cold ones, chilling with friends, and taking in the slow pace that summer offers.
Morphing from just another fuzzed-out grungy rock band into a power-pop juggernaut in the early 90s, the Fannies faced stiff competition in 1991 when they released their undisputed masterpiece, Bandwagonesque. The record showcased the band's clear strength, namely, three very strong songwriters, well-versed in the lineage of power pop from the Beatles, to the Kinks, to Badfinger, to Big Star. The equal strength of each of the writers in the band make Norman Blake, Gerard Love, and Raymond McGinley as formidable a trio of writers as any band in recent music history has been blessed with. As grunge was coming to the forefront, it seemed easy to dismiss what this four-piece was doing as mere fluff. A closer inspection of that record reveals timeless melodies that hold up amazingly well to this day, almost 20 years later. Rock critics have said that those who haven't heard Bandwagonesque's opening track, "The Concept" are lucky, in that those who worship the song would like to go back and experience it for the first time again. The song is a perfectly addicting 6 minute mini-epic that rolls at a languid pace as Norman Blake recounts (what else) a story about a girl who, inevitably, is gone. At the 3:10 mark, it seems as though the song has ended, but a short drum fill ushers in an initially inexplicable coda that finishes the song's 6:06 length. Wordless harmonizing, bowed electric guitars, a gently lilting baseline, and gentle strumming swell and fall through something that resembles ironic wankery, but comes off as essential, much like "Layla"'s epic coda. The guitar solo at 4:30 even echoes "November Rain" by Guns N Roses. For those who haven't experienced the song, please keep reading, as it waits for you at the end of this post. The rest of Bandwagonesque is just as beautiful, with "Alcoholiday" and "What You Do To Me" providing two other very memorable moments.
While many argue that Teenage Fanclub never was able to hit the heights that they reached with Bandwagonesque, the rest of their catalogue is remarkably consistent. 1993's Thirteen was hailed by many as an utter failure, but the benefit of time and reassessment, shows otherwise. This album merely showed a band willing to look backward to their original sound (more harsh, layered guitars and faster songs a la A Catholic Education, the band's first album) while pushing forward and setting the groundwork for the rest of their catalogue by showcasing sunny harmonies. "Radio" and "Norman 3" are the album's stand-outs.
Grand Prix followed in 1995 and picked up where Bandwagonesque left off, offering a more consistent slower pace, insistent melodies, and power pop bliss through songs such as "Sparky's Dream", "Mellow Doubt", and "Don't Look Back".
1997s Songs From Northern Britain is the album where the Fannies clearly let their Alex Chilton worship fly. The album is a top to bottom stunner, but is not quite as immediate a classic as Bandwagonesque. This album was criticized for being "too mellow" and having too much of a "Laurel Canyon sound", but listening through the record multiple times reveals it to be a love letter to their Scottish homeland and life in general. "Ain't That Enough" is as sweet a song as you'll find in the band's catalogue.
The 2000s brought three new albums from the band - Howdy!, Words of Wisdom and Hope, and Man-Made - each furthering the band's honey-drenched harmonies and debt to Big Star and the Beatles, but none as good as their previous efforts. Five years would pass between the release of Man-Made and the next Teenage Fanclub record. In that time, many forgot about the band, as more recent bands who claim the Fannies as a touchstone and source of inspiration (Belle & Sebastian, Nada Surf, Travis, and the New Pornographers) rose to prominence.
With the dawn of 2010 came the promise of a new release by the band. US distributor Merge Records did a fantastic job of giving the album some press and exposure stateside, and when Shadows was released last month, the world seemed primed for a Teenage Fanclub comeback. They wouldn't be disappointed. Showcasing a more mature sound, stemming from years of experience, the album is their strongest since Bandwagonesque. As with each great Teenage Fanclub record, Shadows is loaded with songs that get stuck in your brain and roll around all day. Just try not to hum along with "Baby Lee", "Into The City", and "Sometimes I Don't Need To Believe In Anything". The album will clearly be a contender for year-end "Best Of 2010" lists, and seems to have a timeless quality to it. The band doesn't rush any of the songs, but everyone should really rush out to hear it.

Without further ado, a Teenage Fanclub primer. You know there's only one song that could kick off this list...

"The Concept" from Bandwagonesque
"Alcoholiday" from Bandwagonesque
"Star Sign" recorded live at The Paradiso, 11.20.95 - original version on Bandwagonesque
"What You Do To Me" recorded live at The Paradiso, 11.20.95 - original version on Bandwagonesque
"Radio" recorded live at The Paradiso, 11.20.95 - original version on Thirteen
"Sparky's Dream" recorded live at The Paradiso, 11.20.95 - original version on Grand Prix
"Ain't That Enough" from Songs From Northern Britain
"Baby Lee" from Shadows

Until our next Summer Mix Tape, sit back, relax, and listen to the gorgeous harmonies and addicting melodies of Teenage Fanclub...