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The Best Songs of 2010: #8: “Bloodbuzz Ohio” by The National

22 Dec

I'm getting something

I shook the 8-ball and out of the mysterious liquid realm came a suggestion to pick “Bloodbuzz Ohio” by The National as the eighth song on our Top 11 list. All hail the mighty 8-ball. Putting aside my idolatry for the black circle of broad responses, I believe the 8-ball made the correct choice. Is it odd that I had previously written “Bloodbuzz Ohio” in as the number eight song of the year?

Song: “Bloodbuzz Ohio”

Band: The National

When The National released High Violet in May of 2010 something clicked with the national public. Prior to its release, this 11-year-old Indie rock band, led by baritone Matt Berninger, had released four previous albums. Boxer, released in 2007, charted highest in Finland, reaching the 23rd spot. The National swam in the sea of under appreciation for talented bands releasing good material. But, after High Violet hit, led by an excellent full-album performance highlighted by the song we are featuring today, people started taking notice. The song charted practically everywhere, reaching the #3 spot in the United States (where The National only hit #68 with Boxer). To this date, High Violet has sold 400,000 copies worldwide and has gone silver in the UK and gold in Ireland. 11 tracks for an 11 year history. The band finally now gets to experience some deserved recognition.

The National formed in Cincinnati. Berninger’s croon and lyric are the staples that hold the band together. But, the band also consists of two sets of brothers, the Dessners and Devendorfs, who create the band’s wonderful instrumentation. Padma Newsome, from The Clogs, often contributes keyboards and strings (which she does for “Bloodbuzz Ohio” which we will begin to discuss…right now!)

Let me share a brief preface before you settle into the piece. The song is a tenebrous masterpiece, melancholic in voice, video and music. The lyric delves into the topic of traveling back home and it certainly opens a fresh wound that bleeds out slowly onto the listener.

The song is immediately depressing. The charcoal video is paired with Berninger’s gloomy voice, dark but level, and a solemn loneliness that immediately presents itself after the drummed opening. The squirming repetition is almost as uncomfortable as Berninger’s drunkenness throughout the video. But, please don’t take that the wrong way. Songs are occasionally supposed to move you out of your comfort song. If you listen to pure mainstream you never get the opportunity to experience different music. And this is exactly what “Bloodbuzz Ohio” is. It is representative of a band that may be slightly out of your normal listening zone. So expand it and taste something that nears on acerbic and austere, but still maintains a hook and melodic quality that draws you in.

The chorus is exceptional. It is capable of drawing incredible emotion out of you. I go back to repetition but I think this is where the true strength of the song lies. The lyrics are also repetitive. He repeats almost every line twice and maintains a few lyric openings like “I still owe money”  and “I rest my eyes.” Perhaps the best moment comes when the song lifts into harmony and Berninger sings that he is on a “blood buzz.” So, what is a blood buzz?

Like I said above, the song exposes traveling back to Ohio (where he grew up). The “blood” refers to his family, his literal blood. The buzz is that feeling you get when you go home. Notice how after he sings that he is on a “blood buzz” the instrumentation fights with two conflicting musical parts. In the background is a keyboard striking 4-5 high notes, tinged with optimism. But a repetitive brash and scratchy chord attempts to cover up the sweetness. This fight represents Berninger’s lyric and character in the video. When the lyric, video, voice and instrumentation all join together to struggle with the same concept that the song represents, well, that demonstrates musical experience and intelligence, two things that The National has a lot of.

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The Best Songs of 2010: #9: “Infinite Arms” by Band of Horses

21 Dec

Who else cannot help but think of the haunting repetition of “number 9” in The Beatles’ “Revolution 9” when they look above at this route 9 photo. If that thought crossed your mind you are in the right place. We are moving on to the #9 song of the year.

Song: “Infinite Arms”

Band: Band of Horses

They just look like they are from Seattle. Oh, they are? Well, that was no surprise. I don’t say that as a negative at all. There is something about Seattle, Washington that breeds great bands. I pondered this unproven statistic once (even though it is practically proven in my mind). My conclusion? The coffee and the rain. It is an upper and a downer. The juxtaposition must engender beautiful musical concoctions. And while Infinite Arms (where the same-named track we are discussing appears) was mostly recorded in North Carolina, it certainly sounds like they carried some Seattle spirit with them.

The band released Infinite Arms in May to critical acclaim. It was the third album released by this Indie band. While Band of Horses euphonious style of vocal harmonies shined on their first release in 2006 (which featured “The Funeral”), I believe that this album highlighted a sense of band maturity. A big reason for this is that the band is finally whole. Lead vocalist Ben Bridwell and his band expanded to include guitarist Tyler Ramsey and bassist Bill Reynolds. Keyboardist Ryan Monroe was made a permanent band member. The new members impact on the album was invaluable. They helped create the exceptional sound of the #9 song of the year.

Does the beginning of the song sound familiar? It is very similar to David Bowie’s “Space Oddity.” (I believe the opening chords for “Infinite Arms” are an F and Em7 while Bowie plays a Fmaj7 and an Em. Variations of F and E) The repetitive chords are then put in the background and Bridwell’s voice shines. His voice is passionate and he is able to control it. It does display a hint of western charm.

The band lives on vocal harmony. That is how they evoke their feelings. And, they have always done this well. But, by adding more instruments they have created an even more dynamic presence on stage. Now they pair more complex instrumentation with their harmonies. This provides a sound that hits you on multiple levels. This is why “Infinite Arms” works. The end of the song features the combination and it sounds like the puzzle pieces have been put together. It is form fitting. The song then fades beautifully.

I’d also like to highlight a specific lyric. As you know I am a sucker for great lyrics. That is my ultimate favorite. I am a word person.

“These mended bones
The storms approach
Ever so slowly
Out on the sea
There’s an animal below me
lack of control
Others came before me
Others to come, to come
When my thoughts drift to you”

If we presume that this song is about death and memory, Bridwell chooses an interesting way to frame the lyric. I do believe that it works. And the repetition throughout the song of “when my thoughts drift to you” is fantastic. The song is well deserving of the #9 title.

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The Best Songs of 2010: #10: “Excuses” by The Morning Benders

20 Dec

How can you not like number graphics?

And it officially begins. Today is December 20. By December 30 the mystery will be unraveled and the Music Court’s top 10 songs of the year will be revealed. People love lists. Seriously, if I devoted this entire blog to “Best-Of Lists” I would gain a tremendous amount of viewers. For the next 10 days (excluding Sunday the 26) I will list a song a day from today’s #10 to Dec. 30 #1. Let us begin with #10.

Song: “Excuses”

Artist: The Morning Benders

I have been trying to put my finger on what “Excuses” by The Morning Benders sounds like. Well, the #10 song on our list was released in March of 2010 and co-produced by Grizzly Bear bassist Chris Taylor. The Grizzly Bear influence is evident. The song is what happens when you put Spector’s “Wall of Sound” concept and late 60’s light, melodic, British psychedelia into a particle collider and let them hit each other at such a rapid speed that it bends time and travels 40 years and penetrates lead singer Chris Chu. The melodic hook in this song is beyond wonderful…it’s eery.

This is a 5-minute work of genius. Notice how we immediately are introduced to a wacky string section that already hits us with the Grizzly Bear sound. And when they erupt into the acoustic chords and normal string section it is as if we have been sent back in time. The string coordination is beautiful. Chris Chu’s voice appears in the first verse and, just like an ocean wave, douses listeners with water infused with vocal goodness. The harmony prior to the chorus is so British harmonizing it is absolutely scary. The lyric is not shabby either.

The breakdown extends the song’s infectiousness. We have another one that sticks. And, in typical “Wall of Sound” fashion, the breakdown slowly rises into this ultimate crescendo that leads into the powerful last verse where it seems like several voices are pounding into listeners. After listening to the song I felt drenched. This piece starts off our Top 10 well. And, as you can imagine, if this is #10 we have a solid list and 10 days ahead of us. See you all tomorrow.

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Jason Spooner’s 2010 Release a Monster One

17 Dec

Back in November I looked at the New England-based singer/songwriter Jason Spooner. Here is a brief caption from the post:

Spooner decided he was going to create it; a new beat that takes a taste of old and combines it with an emerging modern acoustic/blues trend. Music that never forgets about the important art of lyric. Spooner has grown up and come a long way. He has just released his third album, an absolute gem. As songwriter Christine Lavin wrote about Spooner, “This is someone important.”

Yes, I have sunk so low that I must sample myself. How dare I plagiarize myself. I have gotten my hands on Spooner’s new album (the third album mentioned above) and will review it here. It was released July of this year.

The first track of any album is obviously reflective of the rest of the pieces that follow it. It is my firm belief that if the first track does not succeed in capturing the listener than the rest of the album is a failure. Never underestimate the importance of #1. Trust the old adage; put your best foot forward. In this statement I do not mean that the first song has to be the best on the album. On the contrary, it should most certainly not be (you want to leave the listener with gems later in the album). The first song must only accomplish the task of capturing the listeners attention.

That is what “Crashing Down” does for Spooner. It introduces the listener to the album with a short repetitive riff and quick drum beat. The true hook is Spooner’s voice. It is smooth and inviting. The song moves into a quick pre-choral lyrical combination that tastes like The Script. And don’t think I missed bassist Adam Frederick’s funky bass line underneath Spooner’s voice and acoustic guitar. These are the small diamonds I like in Spooner’s music. Frederick and drummer Reed Chambers are wonderful musicians who influence Spooner’s music with creative gems like the small funky bass line.

The introductory track never comes crashing down. Even when the song fades away it maintains its tight vocal harmonies and great guitar. Though exciting, it is a slower piece and most definitely inviting. The track ends and the CD reads track two.

Boom. A great drum beat leads into a vibrating chord and all of a sudden the folk piece we just heard has been wiped away by the blues. And, in an effortless transition. It is great track selection from Spooner. We get a completely different element. Spooner’s harmonica and guitar evokes a twangy feeling that matches with his original voice. The chorus is powerful. It draws you further in. Take a listen below (Kudos to Chambers on the drum box)

Spooner’s album so far is shaping up like a musical goody-bag. Let’s see what we get next. The third track really does have a Script feel. This is not a bad thing, as the Script have gone on to be tremendously successful. I can see Spooner’s music gaining popularity as it gains some age and recognition. It is certainly widespread radio bound. This is what I hear on track three. The backing guitar whines while Spooner harmonizes with Frederick. It never gets out of hand. It is a sharp track. This is how it is throughout.

I would like to highlight one specific track that is my personal favorite from the album, “Seed In The Ground.” I believe this is a step above most of the other songs. It is an amalgamation of all things Spooner does right musically. It has a consistent drum beat, infectious rhythm guitar, faded harmonica and Spooner’s wonderful lead vocals and choral harmonies.

So, here comes the portion of the review where I sell you on the album. I give this the Music Court title of “get your hands on a copy and take a listen.” Spooner is a talented musician who understands the meaning of effective music. His songs are snug like a fitted suit. You just feel good when you are in it, swimming the melodic sea of his music.

Visit Spooner’s website for more information on his music and to buy the new album.

Link: http://www.jasonspooner.com/

Also, in the spirit of the Holidays, let the Music Court provide you with a Spooner cover. Here is Spooner and Dar Williams performing “Girl from the North Country,” available by way of free Mp3 download.

Link: http://www.jasonspooner.com/free/holiday/

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Rock n’ Roll Hall of Fame Induction – John Lennon Tribute – John Lennon Tribute?

16 Dec

John Lennon Look-Alike

Yes, I know what you are probably thinking. He repeats himself in the title. Well, let me explain myself.

Meet Street Corner Symphony. If you have been watching the Sing Off on NBC, then you are well acquainted with this Nashville sextet that combine good ol’ fashioned southern charm with funk elements in their music. No instruments. The show is pure A cappella, a style vocal-only music that has become a popular part of our musical culture again. Back in the 50s and 60s, A cappella style was a nice sized part of the musical culture. Well, then again, what wasn’t available on the musical dinner plate.

The Sing Off is really the only show I watch and it definitely is the only reality show I find myself viewing. There are a few reasons for this. The talent is extraordinary for any music lover. Unlike American Idol or any other singing show, this pins intelligent musicians who have mastery over their voices and vocal choreography against each other in a short format. The show runs for only a couple of weeks in 2-hour episodes. Next Monday is the finale. Yeah, so instead of suffering through Months of American Idol, you receive quick results and don’t get sick of the judges. I also like the show because Ben Folds is a judge. ‘Nuff said.

Street Corner Symphony is one of the four bands that will be in attendance at the finale. America now votes on who wins. They are not my favorite, but they still are tremendously talented…and one of their members may be a reincarnated John Lennon.

If the picture is not enough. This was taken during their Beatles' medley!

Scary. Judge Shawn Stockman finally acknowledged the underlying thought in every viewers mind after this performance by saying that Richie Lister (playing the part of John Lennon above) really looks like Lennon and it was scaring the hell out of him. You are not alone Mr. Stockman.

Tweedy Lennon

In other John Lennon related news, Wilco lead singer, Jeff Tweedy, made a surprise appearance at an Autumn Defense show. Autumn Defense is the side-project of two Wilco multi-instrumentalists. Tweedy played Lennon’s “God” to honor Lennon on the anniversary of his death (Dec. 8).

Rock n’ Roll Hall of Fame Inductees

School’s out for sweet Caroline. Alice Cooper and Neil Diamond are Cleveland-bound and ready to suit up for the Rock n’ Roll Hall of Fame.

Cooper and Diamond will be joined by Tom Waits, Darlene Love and Dr. John as they are all honored on March 14. Congrats to the inductees.

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