The Times They Are-A-Over

It has become painfully obvious to my ears during the listening of Together Through Life that Bob Dylan has shriveled into a completely unlistenable artist. I don't even know what the hell it is that I'm listening to. I do know that it has earned the lowest rating of anything I have bothered to review before: a 3.4 out of 10. I feel as though I am on a train, listening to a band of drunken hobo stowaways that are picking tobacco out of their teeth. The fact is this: Dylan is recording past the point of his musical importance.

This is not to say that Bob Dylan should stop recording. A legend of his stature and resume should be able to do whatever he wants. He's earned it. This is more about reviewers tripping over their own lips as they press them to his cheeks. Come on, guys. Be honest with yourselves and the reader. You can't possibly think that this album deserves 4 stars or above, maybe out of 10 but not out of 5. I would assume that these major (and obsolete) rock magazines just find the one reviewer on their staff that is so hopelessly sentimental that they can't help but give the latest album by whatever “legendary” artist a glowing review. They couldn't possibly be honest and risk hurting these dinosaurs' feelings. I'm looking at you, David Fricke.

The problem is that the majors put artists like Bruce Springsteen, Neil Young, and Dylan on pedestals above contemporaries (Lou Reed, David Bowie, or Black Sabbath) even though the latter's music has meant far more to my generation, directly or otherwise. That is not to say that Reed and Bowie haven't made some clunkers. They certainly have. But the magazines have even dismissed truly interesting albums like Bowie's 1995 concept album, Outside. It received no airplay anywhere outside Downers Grove, IL's 88.3 and that's because I played it a ton on my show. Sorry that it didn't have any real radio hits but it was a strong album, brilliantly produced with studio genius Brian Eno. And it doesn't stop with the old timers. The writing scene is littered with pieces and reviews on newer bands they are told to like by record companies and highly placed hipsters. I suppose I can't say it is all the writers' fault because they are dictated to as well. Again, I'm looking at you, David Fricke.

So, again, no disrespect to Bob Dylan. He is a true legend but let's not let that cloud his contemporary output. Michael Jordan was the greatest basketball player of all-time but when he played for the Washington Wizards, he was a shell of his former self. Just keep things in perspective and keep your standards high. Just because an artist like Bob Dylan belongs on the Mount Rushmore of rock and roll doesn't make everything he does gold. On the other hand, you can't give him a pass just because he's old. You have to look at a record as its own entity. And maybe it isn't my or anyone else's place to judge someone else's art. But I know what I like, and this sure as hell wasn't it.

Here are some other more favorable ratings that I was too lazy to write full reviews of:

A.C. Newman: Get Guilty – 8.15
John Fruciante: The Empyrean – 6.3
M. Ward: Hold Time – 7.42
Andrew Bird: Noble Beast – 8.28
Mastodon: Crack The Skye – 7.79
Revolting Cocks: Sex-O Olympic-O – 6.44
Dark Was The Night : A Red Hot Compilation – 7.65
Lacuna Coil: Shallow Life – 8.11
Camera Obscura: My Maudlin Career – 8.23
Neko Case: Middle Cyclone – 8.07
Yeah Yeah Yeahs: It's Blitz – 8.20
Iggy Pop: Préliminaires – 7.67
PJ Harvey & John Parish – A Woman A Man Walked By – 7.15

Jay Reatard - Watch Me Fall

Jay Reatard
Watch Me Fall
Matador
LP/CD

It certainly has been a long, strange career for Jay Lindsey. The Tennessee native has nearly completed the circle he began with his first band. The Reatards had punk songs with pop sensibilities but a rawness and honesty not heard in pop punks like Green Day. The Reatards' sparse production and subject matter kept them from major media conscience. They were more of less angry Germs.

Then came numerous other projects, including the tremendous Lost Sounds. But in recent years, Lindsey set out on a solo career while reclaiming his Reatard moniker. The songs are very similar, complete with hooks and minimal production. Only now, the guitars are toned down. But that hasn't lightened Jay's garage punk attitude. He has a specific idea as to what his records should sound like and hasn't wavered. Watch Me Fall is Jay Reatard continuing to deliver on the promise he showed on 2006's Blood Visions. He has only gotten better as his singles collections from last year have proven. Could he finally be ready for world domination? Not if he can help it.

Track Grades

1. It Ain't Gonna Save Me – 8.5
2. Before I Was Caught – 8.7
3. Man Of Steel – 8.0
4. Can't Do It Anymore – 8.2
5. Faking It – 8.1
6. I'm Watching You – 8.8
7. Wounded – 9.1
8. Rotten Mind – 9.3
9. Nothing New – 8.4
10. My Reality – 8.7
11. Hang Them All – 9.2
12. A Whisper (There Is No Sun) – 9.4

Overall=8.70

Dinosaur Jr - Farm

Dinosaur Jr
Farm
Jagjaguwar
LP/CD/2xCD (Ltd. Edition)

Don't let the hugging tree cover fool you. J Mascis & Co. have come back to blow you away. This, the follow-up to last year's original lineup reunion, is a romping good time. Like Beyond, Farm starts off with a bang and peters out a bit here and there. Dinosaur is, and always has been, at their best when Mascis's guitar cuts loose and Lou Barlow and Murph follow his lead. Not to diminish the power of the original line-up but, just as Mascis seemed to feel throughout the '90s, Barlow's songwriting contributions would be better served on a Sebadoh release. His songs really just tend to distract from Mascis's. Truth be told, the band sounds even more in lockstep this time around. This is in no small part due to the rhythm section playing. I may find Barlow's songwriting less interesting but the nuances of his and Murph's playing liven up the sound of the band that was missing for over a decade. Quite a sound to behold.

Track Grades

1. Pieces – 9.6
   
2. I Want You To Know – 9.4
3. Ocean In The Way – 8.5
4. Plans – 8.2
5. Your Weather – 7.5
6. Over It – 8.8
7. Friends – 8.6
8. Said The People – 8.3
9. There's No Here – 8.4
10. See You – 7.7
11. I Don't Wanna To Go There – 8.6
    
12. Imagination Blind – 7.6
    

Overall=8.43

Marilyn Manson - The High End Of Low

Marilyn Manson
The High End of Low
Interscope
CD

It has been well-documented of the self parody that Marilyn Manson has become. The curse of trying to live up to his image has tainted his work ever since 2000's Holy Wood. His message is much more effective and interesting when he is at his most honest instead of painting himself as society's number one pariah. Manson's tales of personal struggle ("Devour," and "Running To The End Of The World," are far more arresting than his childish word play (most other tracks).

In recent years, the musicianship in Manson's albums has suffered. Now, former bassist/guitarist and musical director Twiggy Ramirez (a.k.a. Jeordie White) has returned to try to write honest to goodness rock songs (with a little help from former Nine Inch Nails drummer, Chris Vrenna). The fault in most of the songs is in fact Manson's limited lyrical and vocal scope. Like his last few efforts, there are only a few tracks that can hold the listener's attention for more than 30 seconds. The music is the most interesting since 1998's Mechanical Animals but Manson himself stands in the way of most of the tracks' success. The one ingredient that helped him overcome his abilities was his fury and that is largely missing, along with the intrigue.

Track Grades

1. Devour – 8.3
2. Pretty As A ($) – 7.0
3. Leave A Scar – 6.3
4. Four Rusted Horses – 7.4
5. Arma-goddamn-motherfuckin-geddon – 6.4
6. Blank And White – 5.8
7. Running To The Edge Of The World – 9.4
8. I Want To Kill You Like They Do In The Movies – 6.6
9. WOW – 4.8
10. Wight Spider – 5.3
11. Unkillable Monster – 8.3
    
12. We're From America – 7.2
    
13. I Have To Look Up Just To See Hell – 7.0
    
14. Into The Fire – 7.5
    
15. 15 – 6.8
    

Overall=6.94

Explosions In The Sky Live: Thursday, July 2nd 2009

This being the 10 year anniversary of Explosions In The Sky, the precocious Texans celebrated with a tour. Before the Chicago show, I checked out the merch table and found a curious item. The out-of-print CD of The Rescue, an installment in the Travels In Constants series from Temporary Residence Records lied there on the table labeled "Limit One". Needless to say, I plunked down my $15 and was instantly in a good mood. The Congress Theatre was packed but I found a seat in the very back of the balcony. I caught the last three songs of the set by Jason Lytle and was a little bored.

Then, Explosions took to the stage and were captivating. Their music is very easy to get lost in. Their beautiful cacophony was just loud enough to drown out the yammering harpies standing against the wall behind me. It is very impressive the way they keep their set moving amidst tuning changes, with only Michael James switching instruments from bass to guitar and back again. No matter the instrument, James provides the thunder along with Chris Hrasky's drums. Munaf Rayani and Mark Smith's guitar weave a textured tapestry over everything. They provide the beauty to James and Hrasky's beast. Their set was a fine mix encompassing at least two tracks from each of their full length albums. Converted fans as a result of the band's work on the soundtrack to Friday Night Lights only had the extended version of "Your Hand In Mine," that appears on 2004's The Earth Is Not A Cold Dead Place. The performance was powerful and flawless and benefitted from the fact that they weren't supporting any one album but celebrating their entire career. And we were right there with them.

The Setlist

1. Memorial
2. The Birth And Death Of The Day
3. A Song For Our Fathers
4. Your Hand In Mine
5. Snow And Lights
6. Greet Death
7. A Poor Man's Memory
8. Catastrophe And The Cure
9. The Only Moment We Were Alone