Uh, I missed that one.

I feel like I missed something here.  Do you remember Matthew Sweet?  Well, I don't.  But I wish that I did.
Upon a recent jaunt through Spotify's music recommendations, I connected to Sweet's music after completing a full listen of Jellyfish's "Spilt Milk" (which, by the way, happens to be a fantastic album).  So there I am, listening to Sweet's "Girlfriend" and realizing that I just absolutely missed this album.
You know that feeling when you discover a diamond in the rough?  Yeah, that was this one.  It got me thinking though, how could I have missed this?
It was 1991 and I feel like I was gobbling up as much music as I could, and yet this slipped right through the cracks.  At the time, the best way to discover new music was on the radio or from a friend's mixtape, so it's no wonder that I find this little gem all these years later combing an extensive catalog of music.  That's the beauty of a system like Spotify or iTunes or any of the other online libraries, suddenly the power is right in your hands.  No longer is it necessary to listen to what the radio wants you to hear.  You create your own radio and listen to what you want to hear.  There's a Matthew Sweet out there for everyone.  What's yours?

The Last Music Library You'll Ever Need. Until the Next One.

Look out iTunes, Spotify is here.  For those of you that haven't experienced the wave of music's future, I encourage you to go to www.spotify.com and download the last music library system you will ever need.  Sure, it took a while for it to get to the US, but now that it's here, I can't imagine it going anywhere else.

What amazes me so much about Spotify, though, is that it does seem to have staying power over all the other music player start-ups that have come (and pretty much gone at this point).  MOG?  Rdio?  Last.fm?  Anyone use these any more?  Or did you ever to begin with?  I really liked Rhapsody when it came out, but why pay $10/month, when I can get Spotify's music for free?  And the radio advertisements aren't yet annoying.  I almost enjoy listening to them because I know that's the only way any of the artists are getting paid (from those advertisements).   Maybe it's just Spotify's slick interface that out-shines the rest of them.  Essentially, it feels like iTunes, just without 30-second snippets and having to purchase everything.  Instead, it's all neatly organized and F R E E, free.

So, I guess the next question is... what's going to take its place next year?  Free iTunes?

You win this round, Muse

So here's the thing: I have a hard time keeping up with new music all the time. I do my best, but every so often something falls through the cracks and suddenly I realize that I'm waaaay behind in listening to it.
This was the case with "Absolution" by Muse. I must have had this album on my iPod for 3 years before I finally got around to listening to it. And I'll be frank, too: I had low expectations. Everything that I had heard from them felt overly grandiose and epicly epic of epic proportions. So, I guess I wasn't being all that fair. All of that said, upon this listen, I got it. Something made sense to me in a way that it hadn't before and I was pleasantly surprised by the album. It still had the epic epic-osity, but it was somehow more enjoyable, especially on an hours-long car ride. Songs like "Sing for Absolution" and "Falling Away with You" have a smooth-trance like feel with lead singer Matthew Bellamy evoking Thom Yorke's vocal delivery, while "Stockholm Syndrome" makes you want to crank the system to 11 (did I mention epic?).
I'll admit that I wasn't sure I would like it and I may not be completely convinced, but you win this round, Muse.

Top Jazz Picks of, Well, Whenever

I wrote this up recently for a friend who asked me for some jazz recommendations. These are pretty much standard listening for any newcomer to jazz. Have a look and a listen and let me know what you think.

Giant Steps and My Favorite Things by John Coltrane: They say that Coltrane ushered in a sort of spirituality to jazz that hadn't existed before. This feeling can certainly be felt in some of his recordings. I enjoy these two albums because, sonically, they are amazing and his technicality is unreal. McCoy Tyner plays piano on both, who is a talented performer in his own right. If you really want to experience the spirituality though, check out A Love Supreme. As Prego would say, it's in there.

Kind of Blue by Miles Davis. I mean, if you don't know this one by heart, well, you should. Could this be considered the birth and death of cool all in one?

Waltz for Debby by Bill Evans. Evans was in Miles' group when they recorded Kind of Blue (along with Coltrane, Adderly, Paul Chambers and Jimmy Cobb). But Evans' contribution was his romantic feeling. In fact, it is believed that he co-wrote 2 of the tracks on Kind of Blue, which Miles didn't give him credit for. So when people talk about that cool/romantic feeling on that album, maybe some of that is due to Evans. Anyway, any trio album with Evans is going to be good. Waltz for Debby is right up there.

Criss Cross by Thelonious Monk. Monk helped develop bebop and Criss Cross is a landmark album. It's an easy album to enjoy because the melodies are both odd yet enjoyable. Also, Charlie Rouse plays a mean sax.

Headhunters by Herbie Hancock. This is where jazz meets funk and gets down. The new version of Watermelon Man takes a song from his established canon and re-imagines it in a matter that is downright funkalicious. It is literally impossible to listen to this track and sit still. Just try it, I dare you.

The Inner Mounting Flame by The Mahavishnu Orchestra. This is where jazz meets rock: fusion. Also Bitches Brew by Miles is another landmark album that sold a ton. I like the one by Mahavishnu better though. This might be a tough album to really listen to, so if you have to pick one track, listen to "Dance of Maya" - it's pretty mind blowing and really shows off fusion at work. It's half jazz, then rock, then both. It's amazing.

Largo by Brad Mehldau. Mehldau seems to run the gamut and can play any style. He often mixes in a lot of current pop but with strong jazz sensibilities. Largo was produced by Jon Brion (Aimee Mann, etc.) and exists as a meeting of the minds between jazz and pop. He covers the Beatles and Radiohead while mixing in his own writing. "When it Rains" is instantly classic.

Raphael Saadiq - Oh Yes

Admittedly, I don’t know too much about Raphael Saadiq’s previous work. I do know that he was (and is, I guess) the lead singer for Tony! Toni! Tone! He has collaborated with several artists throughout his career including D’Angelo, Snoop Dogg, The Roots and more. But based upon an interview on WFUV’s Words and Music from Studio A, I wanted to give “The Way I See It” a listen. I was not disappointed.

The album is homage to 1960’s soul and Motown; genres of music for which Mr. Saadiq has an obvious love, but also mastery. Upon first listen, it wouldn’t have surprised me if I’d found that half of the tracks were written 30-40 years ago. That said, he has a few tricks up his sleeve that add a contemporary flair.

The disc opens with “Sure Hope You Mean It” – a jauntily-paced track that sounds like it could have been recorded by The Temptations 40 years ago, though Saadiq’s lyrical approach is modernized. Rather than a straight profession of love, he’s cautious about letting himself go; as he sings: “Don’t fool me baby/Sure hope you mean it girl.”

Other tricks that Saadiq employs include welcoming guest artists that add verve to several songs. Joss Stone guests on “Just One Kiss” and Stevie Wonder’s harmonica solo on “Never Give You Up” is soulful, fresh and fun. But the finest moment comes in collaboration with Jay-Z on “Oh Girl.” Hidden at the end of the album, this track is worth the price of entry. Between Saadiq’s soulful swoon and Jay’s hip-hop chops, this standout track is a meld of sounds both old and new. The result is a fresh new sound successfully intermingle both worlds.

Overall, the album hangs together well and makes for a laid back groove. There is a distinctly soulful vibe that is palpable, which Saadiq executes superbly. The guests add flavor too, but the main soul is all his own.

No Burritos for a Week

I think I'm beginning to feel the plight of my ancestors. We're now at day 6 of Passover and with 2 boxes of matzah down, I am craving a tasty burrito filled with guac, cheese, beans and the rest of the good stuff. In some ways, this holiday is meant to be celebratory, but I think I'll celebrate most when I can eat tortillas and tacos again! :)

Loose Boots, Tight EP

God bless the indie scene. If it weren’t for the emergence of the internet and subsequently access to independent artists and labels, I may never have come across honeyhoney and their EP “Loose Boots.” Though only 5 tracks long, the disc whets ones appetite for more from the songwriting duo of Suzanne Santo and Ben Jaffe.

Santo’s vocals, at once silken mixed with grit, deliver lyrics of immediacy and absolute directness. This girl’s got no time mess around, she’s straight up blunt and telling it like it is. “Little Toy Gun” (assumedly the single) leads off the disc and gets things moving. Lyrically aggressive, Santo seems to ponder a better means of break-up rather than the normal phone call, “I know you sat all alone so many nights waiting for me/Cold, your face like a stone I hang up the phone when we disagree/Standing there by my side when the fighting is done/Glaring at me in the light is my little toy gun.” The song feels somewhere between a Hawaiian surfing film and a car chase.

This is followed by the wild romp of “Give Yourself to Me.” After which, the duo slows it down for “Bouncing Ball” a track that allows Santo to stretch out and show some range.

But the highlight comes in the form of “Thursday Night” a relaxing charmer of a song. Fed up with the games lovers play, a frustrated Santo lays it on the line. “I’m sitting here with you tonight, you make an awful pretty sight and since it’s just us two tonight, I think that we should screw tonight.” It doesn’t get much more direct than that, but Santo’s delivery is so soft and smooth that unless you’re listening for it, you just might miss it.

Though only 5 tracks long, the EP is certainly worth a listen. The band has been signed to Kiefer Sutherland’s IronWorks label and a full-length album is on the way shortly. I. For one, will be looking forward to it.