O BROTHER, WHERE ART THOU? – Music from a film by Joel Coen and Ethan Coen (2000 Universal)
Hot damn! It’s the Soggy Bottom Boys!
Even if you hated the film (have a doctor check to see if you still have taste left), you can’t deny the fun and authentic roots music on its soundtrack.
A bizarre re-telling of Homer’s The Odyssey set in the 1930’s depression-era south, O Brother was nothing if not unique. It mixes a liberal interpretation of Greek mythology, with Americana and the mythology of the blues era. Some people don’t get it, some people do but don’t like it, and others have long been swept away by its charms. Those with an allergy to George Clooney, fear not: he does not actually sing on this soundtrack, although his co-star Tim Blake Nelson certainly does (on “I’m in the Jailhouse Now”). Dan Tyminski from Alison Krauss & Union Station sings for Clooney’s character Ulysses Everett McGill on the signature hit, “Man of Constant Sorrow” though many people assume it’s George.
The soundtrack CD is a mixture of light and dark. The first two songs are the perfect example: “Po Lazarus” is a chain-gang work song, just before Ulysses Everett McGill and his two companions break free and embark on their Odyssey. It’s followed by a 1928 recording by Harry McClintock, “The Big Rock Candy Mountain”, a joyful nonsense song about a hobo finding paradise on the rails.
“Where the boxcars all are empty, And the sun shines every day, On the birds and the bees, And the cigarette trees, The lemonade springs, Where the bluebird sings, In the Big Rock Candy Mountains.”
The composite of light and dark reflects the movie itself, but makes for a fairly inconsistent listen. The soundtrack follows the progress of the film, but without the story backing it up, it’s harder to go with the flow from song to song. The a capella “O Death” (Ralph Stanley) for example is squeezed between the popular songs “Man of Constant Sorrow” and “I’m in the Jailhouse Now”, so most people will typically skip it.
I look at this soundtrack CD as a great “starter kit” for exploring more genres of music. The dominant ones are folk and bluegrass, but there are also blues tracks and hymns. Norman Blake’s “You Are My Sunshine” sounds wonderful sitting in the shade on a summer day. Immediately after that, you get the velvet tones of Alison Krauss, from the baptism scene with “Down to the River to Pray”. You have never heard a more perfect version, serene, still and deep as the water. And, yes, the Soggy Bottom Boys! In the film, Ulysses Everett McGill and his companions Pete, Delmar and Tommy Johnson (loosely based on Robert) wind up cutting a record. There are four versions of “I Am a Man of Constant Sorrow” on the album. The first is the acoustic track shown being recorded in the film. The version that became a hit single in the real world is from the climax, a fully augmented mix with fiddles and slides. That is included closer to the end of the disc. There is an instrumental version on acoustic guitar by Norman Blake, a fine take indeed. The fourth is an instrumental version on fiddle by John Hartford, barely recognisable. All four are quite different but valuable.
Blues singer and guitarist Chris Thomas King was cast in the film as Tommy Johnson, and his solo track “Hard Time Killing Floor Blues” is a fine example of acoustic blues. There is plenty of sunny and gleeful folk, such as “Keep on the Sunny Side”, “I’ll Fly Away”, “In the Highways” and of course “In the Jailhouse Now”. Tim Blake Nelson is certainly a multi-talented guy, but the yodelling part is not performed by John Turturro as it appears in the film. Still Pat Enright’s yodel part is one of the highlights of the entire album. It’s important to note that producer T Bone Burnett captured authetic sounding performances here. Close your eyes, mix some scratchy vinyl sounds over it, and you can imagine these are vintage recordings from the 1930’s.
Emmylou Harris, Gillian Welch, the Fairfield Four, the Cox Family and more…this CD is a great way to both enjoy an hour of music from the film, and kickstart a collection of folk, bluegrass and more. Dig in!
4.5/5 stars
Final bonus: Sh*t LeBrain’s Grandma Says!
I love my grandma with all my heart, but sometimes she gets the names of movies wrong. We took her to the theater to see “There’s Mail Waiting for You” (You’ve Got Mail), and she also really enjoyed this movie, which she calls “Brother Can You Spare a Dime?”
JIM DEAD & THE DOUBTERS – Pray for Rain (2015 Jim Dead)
I like Jim Dead’s authentic dark slant on country and blues. I don’t know how you get such a true slab of blues out of Scotland, but there is no lack of truth in Dead’s music. With the Doubters he gives a full-on band experience, blues-rock with drums and electric twang, but nothing has changed. Jim Dead still sounds wracked with all the pain and agony from past records, perhaps even more so.
A “Wooden Kimono” doesn’t sound like comfortable garb, but this song is anything but wooden. It’s played on wooden instruments plugged in with electricity, and accompanied by Dead, telling it like it is. “Wooden Kimono” is a swampy stomp; this gives way to “May the Road Rise”, a powerful moaner of riffs and wounds. Jim Dead has never sounded better, truthfully, than he does baring his soul on “May the Road Rise”. “Pray for Rain”, the title track, is a storm of rock power so just get swept up with it.
This is a rough mix — the album version sounds better.
The blues vibe comes across on “Holding the Line”, with some very nice guitar work up front. A soaring chorus and some bluesy guitars are just what the doctor prescribed. “Lovesick Blues” is heavy shit, grunged up and ready to take it to the next level. “I’m sick of TV, I’m sick of me,” sings Dead with the anguish you expect, but with a Glenn Danzig howl.
As if to emphasize an LP side change, “Trains” fades in slowly and feels like a new start. Jim Dead likes writing about trains. I like that. “Trains” is the opposite of “Lovesick Blues”; it’s a brief percussive tune that introduces the country twang of “Crows on the Wire”. Sounding like an upbeat road tune, “Crows” reminds me of Blue Rodeo. It defies you to stand still. “Let it rain, let it snow,” sings Jim and this time we’ll agree to disagree. “Home” then is ominous, with those big fat guitar tones you love, again sounding a bit like Greg Keelor’s work in Blue Rodeo. “You Coulda Said” has one of the sweetest sounds in the whole wide world, that being a dirty slide guitar. The final track is the quieter “I’m Not Lost”, also the name of a prior Jim Dead EP. Call it the album epic, but at almost seven minutes it really does feel like a journey. It starts somewhere and goes somewhere else. That’s the key.
If you want something authentic and real to listen to, with the darkness and brightness of the real world, than look no further. You must simply Pray for Rain, and get this CD. This is the real thing; the genuine article. You can buy Pray for Rain by clicking here.
No bullshit, let’s just get to the lists! Yes, lists! This year I asked some past contributors & readers to give me their Top Five Albums of 2013. Some have left comments with their lists. So let’s get to the lists — I also threw my hat into the ring!
5. OST- Alan Partridge: Alpha Papa. Mostly for the Alan Partridge banter between tracks. Insanely funny stuff from Steve Coogan. Some decent music too. Featuring an eclectic playlist featuring the likes of; The Human League, Glen Campbell, Carly Simon, Sting and OMD. 4. Travis – Where You Stand Quietly released in August. Solid record from the Glasgow quartet.
3. David Bowie – The Next Day I’m one of the people who like all eras of Bowie. That’s it.
2. Sigur Rós – Kveikur Love this band. Everything they’ve done.
1. Steve Earle and The Dukes – The Low Highway Some of the best songs Steve has written. This record is up there for me with I Feel Alright and El Corazon.
Seb
Sebastien, whom I first met at Sausagefest is a talented guy and you will be hearing from him in the future! He’s a musician/ producer/ filmmaker/ Star Trek fan and we’ll be collaborating on something in 2014 for sure. Consider this Seb’s first guest shot.
5. Killswitch Engage – Disarm the Descent
4. Black Sabbath – 13
3. Philip H. Anselmo & The Illegals – Walk Through Exits Only
2. Avenged Sevenfold – Hail to the King
1. Protest the Hero – Volition
Tom is our host at Sausagefest, and one of the Jedi Masters who helped instruct me in the ways of Rock. Top Five was simply not possible for this rock warrior.
11. Vista Chino – Peace
10. Motorhead – Aftershock
9. Deep Purple – NOW What?!
8. Charles Bradley – Victim of Love
7. Anthrax – Anthems
6. Voivod – Target Earth
5. Steve Earle – The Low Highway
4. Black Sabbath – 13
3. Orange Goblin – A Eulogy For The Fans
2. Clutch – Earth Rocker
1. Ghost – Infestissumam
You guys already know Uncle Meat from his numerous lists in the past. Please welcome back the one, the only, the man the myth the legend, Uncle Meat. He’s submitted a Top 8 this year. That’s cool with me.
8. Motorhead – Aftershock
7. Eminem – The Marshall Mathers LP 2
6. Vista Chino – Peace
5. Ghost – Infestissumam
4. The Sadies – Internal Sounds
3. Black Sabbath – 13
2. Sound City Players – Real to Reel
1. Steve Earle – The Low Highway
LeBrain
I thought I had my Top Five nailed down weeks ago. Then, Aaron threw a spanner in the works by giving me the new Pearl Jam for Christmas. Instantly enamored with this sure-to-be classic, I had to re-think my Top Five.
Then, just two days ago I realized that one of my albums is a 2012 release. But I felt so strongly about it, that I can’t take it out. So here’s a Top Six.
I would also like to give credit to the new self-titled Dream Theater for putting out an album that caused me to rethink this list over and over and over again!
2013 was an interesting and exciting enough year that I’ve decided to do another buncha lists tomorrow! We’ll be looking at movies, television and more. Come back then for some bonus Top 5’s of 2013.
Music, movies, and books! I’ve been very occupied these last couple days.
I get the Guiness’ Book of World Records, and the Ripley’s Believe It Or Not books every year. I imagine my surprise when I discovered a friend of ours in both books! Apparently, Sweet Pepper Klopek holds the world record for “Most Baking Sheets Buckled Over the Head for One Minute.” This is a guy who has been on my living room couch! Lemon Kurri says:
“He’s in there a couple times. Most mouse traps sprung on a tongue in 1 min too.”
AEROSMITH – “Dude (Looks Like A Lady)” (1987 Geffen 12″ single)
There was an old Canadian magazine called Music Express that was…well, it was OK. Back in 1987 they did a spread on the new Aerosmith (Permanent Vacation), including a really cool caricature of Steven Tyler that I cut out and kept. This Aerosmith article contained what I now consider to be a myth, although one that led me on a wild goose chase for years.
Music Express
The magazine claimed that one of the new Aerosmith B-sides was a song called “Once is Enough”, a collaboration with Willie Nelson. Not only did I believe this to be true, but it was seemingly confirmed by an old customer of mine who insisted she had this Willie Nelson tune. Now I’ve finally acquired the “Dude (Looks Like A Lady)” 12″ single with “Once is Enough”, and there is absolutely no indication that Nelson had anything to do with it. I wonder if the confused writer thought that John Kalodner in the music video for “Dude (Looks Like A Lady)” was Willie Nelson? That’s as much insight as I can offer on this strange myth.
As it turns out, “Once is Enough” is an outstanding song, and no wonder: It was written by Richie Supa, who also wrote three of my personal Aero-faves: “Chip Away the Stone”, “Lightning Strikes”, and “Amazing”. Supa has a certain magic in his melodies, rooted in old time rock n’ roll. When Aerosmith record a Supa song, the results are seldom disappointing (“Pink” being the only letdown I can think of). It does have a country twang to it, particularly the intro, but otherwise this is a rock n’ roller.
Although “Once is Enough” is instantly likeable and arguably an unknown classic, it was never released on any of the numerous Geffen Aerosmith compilations. I think it’s stronger than much of the material on Permanent Vacation itself. I can only assume it did not make the album because it’s too different from the songs that did. In fact it probably would have fit better on Pump, which also had some twang on the hit “What It Takes”. The country vocal harmonies are really sweet, and Joe Perry lays on some awesome slide. When it takes off into full-on rocker mode, it’s irresistible. Why a great tune like this remains so hard to get more than 25 years after its release, I don’t know.
The rest of the songs on the single are Permanent Vacation album tracks: “Dude”, “Simoriah” and “The Movie”. I’ll be honest, I never thought much of “Dude”. It was originally titled “Cruisin’ For A Lady”, but obviously the new words (supposedly inspired by Motley Crue) have become a Tyler landmark. So, good on them. It’s been used in numerous movies and is a radio staple today. With that Bruce Fairbairn horn section in there, I just thought it was too pop. No matter how I feel about this commercial rock song, Joe Perry’s solo smokes.
Both “Simoriah” and “The Movie” are filler as far as I’m concerned. For its merits, Permanent Vacation had a bit too much filler on it. I’m more of a Pump guy myself. As filler goes, “Simoriah” has a speedy groove going for it, but it’s not an outstanding song. “The Movie” is just an atmospheric instrumental. I’ve never felt that Aerosmith compose the most interesting instrumentals in the world.
Just 3/5 stars for this one…but 5/5 stars for “Once is Enough”!
One last thing: I also have a CD single for “Dude (Looks Like A Lady)” completely different from this. It was obviously a later release, since one of the B-sides was “Love In An Elevator” live. “Once is Enough” was not on that CD single.
BLUE RODEO – Palace of Gold (2002 Rounder version with 3 bonus tracks)
After the disappointing (to me) The Days In Between, Blue Rodeo did the long-awaitedGreatest Hits dealio. Then they did something unexpected, and added horns to the mix on a couple new tracks. That carried over to the Greatest Hits tour, where they added that same horn section to old classics like “Diamond Mine”. I remember the trumpet player executed a killer solo during that song when I saw them live in Stratford Ontario. They do an annual winter show there, in the round, at the Festival.
Palace of Gold is the album that followed this experimentation. Horns and strings are added to a good number of songs. The end result was a rejuvenated Blue Rodeo, more happy-go-lucky in general this time out, sounding excited to be playing again.
The opening track “Palace of Gold” is a Greg rocker with some floaty catchy keys from James Gray. Glenn Milchem’s drums propel the song forward excitedly. This is followed by a cool mid-tempo song called “Holding On” that reminds me of the flavour Jim’s first solo album. “Holding On” is not only catchy, traditional Blue Rodeo, but also contains some of Jim’s trademark heartfelt lyrics.
Some tasty mandolin work introduces Greg’s “Homeward Bound Angel”, another uptempo track. Horns are introduced here for the first time on Palace of Gold. By my reckoning, this is now three oustanding songs in a row. This is just a preface to “Bulletproof”, aka “the album’s big hit”. It’s a torchy ballad as Jim is loved for. It’s not as immediate as previous ballads like “Try” or “After the Rain”, but after a few listens, it’s sunk in. The arrangement is backed by lush strings.
A taste of reverb intruduces “Comet”, the first song that I find below the high standard already set. It is a trippy psychedelic Greg tune, with what sounds like therimin and strings. I’m just not keen on this one. I find it less exciting than other similar concepts from Greg, such as “Girl In Green”.
Swift punky chords are soon followed by deep fat horns. This is Jim’s “Walk Like You Don’t Mind”, another highlight, only bettered by Bazil Donovan’s bouncy basslines. It’s a Blue Rodeo rave-up. This is the kind of sound I love from them, especially live.
“Love Never Lies” is highlighted more strings, but this Jim ballad sounds melodically similar to the previous”New Year’s Day” from his solo album. One of my favourite songs is track 8, “Stage Door”. Greg’s lyric always inspires hoots and hollars from the crowd:
Ain’t no mystery, what I need,
is understanding and your sweet sympathy,
A steel string guitar and a little weed,
N’ someone to keep me company.
The arrangement contains both strings and horns, and of all the songs on this album, “Stage Door” amalgamates these instruments most successfully. (Live, I’ve heard Bazil Donovan take the lead vocal on this song — he was once arrested for possession. The charges were dropped.)
It’s hard to follow a song like that. I’m not in love with the next song, Jim’s “Cause for Sympathy”. The verses are dull to me, although it does boast a very nice chorus where both Jim and Greg sing together. Likewise, I usually snooze through the following track, the 60’s-sounding “What A Surprise”, sung by Greg.
“Clearer View”, a Jim Cuddy contribution, returns the album to high standards of outstanding songcraft. It’s a much needed shot in the arm, a driving song with the perfect horn section. Glenn Milchem’s drumming is rock solid but also propels the song forward like rocket fuel, especially during the chorus
The album slides back again into sleepy-land on Greg’s “Glad to be Alive”. This dreamy song ise a slide guitar-laden lullaby. Jim’s “Find a Way to Say Goodbye” is a ballad but has some punchy horns during the chorus, that are quite tasty. The final song is yet another snoozer from Greg Keelor called “Tell Me Baby”. I think unfortunately that Palace of Gold slides a bit at the end, and contains so many slow songs right at the finish line.
Fortunately there is a US edition of this album on Rounder Records that contains an additional three songs. These kick the album back up a notch at the end. They are are live tunes, and only one is a ballad! “The Railroad”, a Lee Hazelwood cover, is a blast. “Bad Timing” is of course one of Jim’s most classic ballads of all time, so we’ll let that one slide. The final track is another rock n’ roller, “You’re Everywhere” (from the Casino album). They close the album in style.
If you can get the 17 track version as opposed to the 14 track, I think you are in for a much better listening experience.
COLEMAN BIOWIPES
$3.99 for resealable package of 30
July 5-6 2013 was the weekend: the annual all-rock, all dude Countdown event known as SAUSAGEFEST. This particular installment being Sausagefest XII. As discussed in Record Store Tales Part 30, and as seen in last year’s video, I suffer from a certain level of anxiety regarding the restroom arrangements. As in, there aren’t any. And I’m not as young as I once was, and the plumbing doesn’t always work as well as it used to when I was in my 20’s.
To the rescue came Biowipes, by Coleman! Not only can you shit with a clean bottom, but also a clean conscience: the Biowipes completely biodegrade in just 21 days. (Less I’m sure if you ate the bacon-wrapped jalapenos that we consumed.)
The Biowipes are large enough (20 x 25 cm) and tough enough to handle whatever you need to do. There are 30 of these moistened towelettes in each package, by my estimation and usage, probably enough to get you through 10 days in the woods.
6/5 stars
Seen below: Some of the many reasons these wipes were necessary!
RICHIE KOTZEN – Electric Joy by Richie Kotzen (1991 Shrapnel)
Albums by Richie Kotzen were impossible to find in Canada. My only exposure to his music was “Dream of a New Day”, from his second album Fever Dream. Fever Dream was his first vocal album, but Kotzen returned to instrumentals on his third, Electric Joy. I’d seen his picture in dozens of guitar magazines, but hadn’t heard his tunes until “Dream of a New Day” was included on the Bill & Ted’s Bogus Journey soundtrack.
His debut album was a hit with the shredders, but three albums in, Kotzen had already delivered three completely different pieces of work. Electric Joy has some of the playfulness of the debut, but is mostly a jaw-dropping collection of intricately composed pieces that skirt multiple genres including funk, country, bluegrass, jazz, fusion, and blues. If I had to pick out an influence, I would say that Electric Joy sounds like Richie had been listening to a lot of the “two Steves”: Vai and Morse. His technique is top-notch.
I first got this on a trip to Frankenmuth, Michigan. My parents made a point of going there every spring and I started tagging along, and then later on my friend Peter joined us as well. We’d stay at the Bavarian Inn and on the way back to Ontario, we’d stop at the stores in Port Huron, where I found this as well as old rare Savatage cassettes.
“B Funk” opens the album with some light-speed bluegrass-y licks, but it keeps changing, from a funked up rocker with shredding, to a melodic “chorus” section. Then it’s back to the bluegrass from space.
At this point I’ll point out that Kotzen plays all the instruments except drums, himself. That’s Richie’s standby Atma Anur on drums. What this means is, that incredibly dexterous bassline you’re hearing on “B Funk” is also performed by Kotzen! And it’s almost every bit as stunning as the guitar!
“Electric Toy” begins ballady, with some lyrical Vai-like moments. Of course, Kotzen can’t help but do what he does, so there are different sections, some at lickity-split tempos. This is followed by “Shufina”, which is essentially a blues jam. Kotzen’s deep bends are appropriate, but before too long he’s harmonizing with himself on some unconventional melodies.
A smoking hot riff ignites “Acid Lips”, little lightning licks flicker in and out, but this one has a solid groove. (It can’t be easy grooving with yourself on bass.) “Slow Blues” contains some of Richie’s most lyrical lead work. If you can imagine the lead guitar taking on the role of a singer, then “Slow Blues” is probably the most accessible song on the album.
The next song “High Wire” is uncatagorizable, suffice to say that like all of Electric Joy it combines quirky notes with shreddery, funk and groove. My favourite song is “Dr. Glee”. It sounds like it seems it should – gleeful. I find this pleasant melody to be very summery. Kotzen guitar has so many different sounds and shades, even just within this one song.
“Hot Rails” is another one that sounds like advertized…a train racing down the track. Kotzen’s slide work is anything but simple. This one’s so fast it’s hard to keep track of all the cool different guitar parts. It almost sounds like Kotzen wrote a blues shuffle, and then decided to hit fast forward on his tape deck and learn it at that speed!
Electric Joy closes with “The Deece Song”, which thankfully is mid-tempo allowing us to catch our collective breath. It’s another great performance, similar in style to “Dr. Glee”. It has its sweeping Satriani moments as well.
The production on the album is very dry, which is different from what a lot of the other instrumentalists were doing at the time. While this means it might take some more time to penetrate an album that is loaded to the brim with dense ideas already, it is a worthwhile endevour.
In a bizarre turn of events, Kotzen briefly put his solo career on hold. He received a phone call from Bret Michaels. The Poison frontman was looking for a replacement for the departed CC Deville. The fact that Kotzen was from Pennsylvania, not already in a band, and wrote and sang original material caught Michaels’ eye in a magazine article. Having a shredder, but one with some feel too, might garner Poison some respect in the tough 1990’s.
Kotzen did succeed in co-writing (and in some cases, writing entire songs himself) their most accomplished album, Native Tongue. Of course, it did not sell. The Poison relationship imploded because of another relationship: the one that Kotzen was secretly having with drummer Rikki Rockett’s fiance! Kotzen eventually married her, and he was replaced in Poison by another shredder, Blues Saraceno (who was in the running with Kotzen in the first place).
THE BIG LEBOWSKI (1998, directed by Joel & Ethan Coen)
10th Anniversary Limited “Bowling Ball” Edition
Way out west there was this fella… fella I wanna tell ya about. Fella by the name of Jeff Lebowski.
Okay sir, you’re a Lebowski, I’m a Lebowski, that’s terrific, I’m very busy so what can I do for you? Well, I’m gonna tell you about this movie. First of all, for the rockers who read LeBrain’s blog, rest assured, there is a music connection. And that’s the killer soundtrack. From Captain Beefheart, to Bob Dylan (the incredible “The Man In Me”), Elvis Costello, CCR, the Gipsy Kings (“Hotel California”), Kenny Rogers & The First Edition, and even the fuckin’ Eagles, this movie is loaded with solid tunes. There are even appearances by Jimmie Dale Gilmore, Aimee Mann, and Flea! (Yes, that Flea.)
Ahh, who am I kidding? If you’re a fan, you don’t need me to sell you on this movie. Hence, I shall review this movie in two parts: For fans, and for non-fans. Dudes and Un-dudes.
FOR DUDES:
The new “bowling ball” edition of Lebowski is awesome. Finally we’re given the special features that we’ve been asking for, for years! No audio commentary track, but the Coens and the Dude himself will give you some insight to the film and its characters. After two disappointing editions, this is so overdue. Two discs, featurettes, that weird intro, Lebowskifest, an interactive map of Los Angeles, it’s all here. Most of your questions will be answered, but of course not all…some mystery must always remain. Plus the bowling ball just looks cool. I have mine on my entertainment centre, and it’s a conversation starter. “What is that bowling ball doing there?” It’s sturdy and it houses the DVDs in two slip cases. Life does not stop and start at your convenience, so be sure to pick this up and enjoy while you can, it’s limited edition.
FOR UN-DUDES:
One important thing about this film that I must stress is, don’t try to understand the plot on first viewing. It’s every bit as stupifying to the first time viewer as it is to Jeffrey Lebowski. Just enjoy. My feeling (and this is just my feeling) is that The Dude himself (Jeff Bridges) doesn’t know what the heck is going on, so neither should you. The plot is not complicated, but your thinking about it might be very uptight. I don’t necessarily recommend that you stick to a strict drug regimen to keep you mind limber, but having a few white Russians might help.
The Dude (the laziest man in Los Angeles) is unemployed (or “a bum” to some) and spends most of his time having acid flashbacks and bowling with Walter (John Goodman) and Donny (Steve Buscemi). One day his home is broken into by two thugs looking for money. They have mistaken The Dude for a millionaire with the same given name: Jeff Lebowski. During this break-in, Wu micturates on The Dude’s rug. That rug really tied the room together. Walter tells The Dude to try to take up the rug issue with the other Jeff Lebowski, the millionaire (David Huddleston). And this is where our adventure begins.
An amazing soundtrack backs a hilariously confusing movie about a guy in way over his head. There are a lot of facets, a lot of ins and outs, a lot of interested parties and strands to keep in Duder’s head. Along the way you will meet The Stranger (Sam Elliot), Brant (Philip Seymore Hoffman), Bunny Lebowski (Tara Reid) and a group of nihilists lead by Peter Stormare. Things are complicated by the appearance of Maude Lebowski (Julianne Moore), a kidnapping, and a ransom note. Can The Dude recover the million dollars? All he wants is a finder’s fee. Perferably in cash. He has to check with his accountant on this, but he’s worried about being put in a higher tax, uhh, you know. All this with next round-robin of the bowling tournament starting. And The Jesus (John Turturro) is ready to take them down next Wednesday, baby.
Brilliantly written, brilliantly directed, brilliantly performed. Yes, you should be confused the first time you view it. By second, third, and fourth watch, those stands in Duder’s head come together, supported by musical cues (listen for CCR), odd bits of dialogue (“Johnson”) and other clues.
I can’t recommend this movie enough. You too will become a Little Lebowski Urban Achiever, and perhaps even an obsessive fan, dressing up and going to Lebowskifests. You never know. At the very least you might just find a new enjoyment of white Russians. Just don’t run out of non-dairy creamer. Is there a Ralph’s around?
And make no mistake, Meat wrote every word. No messing around from me. Enjoy!
PET SOUNDS– THE BEACH BOYS (1966)
When The Beatles released Rubber Soul in 1965, Brian Wilson heard something that inspired him to try and make his own masterpiece. The result was Pet Sounds, which saw The Beach Boys discard their typical surf-inspired ditties and create an album that will always be a classic. I remember when I first heard this album I was completely blown away that it was a 1966 album. The overall sound of it is so full and rich, and it’s funny how everyone thinks The Beatles main influence for Sgt. Peppers was drug-related, and I am sure it was, but that classic would never have been without this classic album first. Do yourself a favour and re-discover The Beach Boys by checking this out.
QUEENS OF THE STONE AGE – QUEENS OF THE STONE AGE (1998)
There are a lot of people that think that the QOTSA album Rated R, is the band’s first release. In all reality it is their third release if you count the Kyuss/Queens of the Stone Age EP. However, it is a shame that this album has been somewhat overlooked. I think it is by far their best album. To gauge just how much I got into this album could never be measured. For years, I stated that this album was my favorite album ever with distortion. Now trust me I realize the exaggeration in that statement (I have since relented) but it doesn’t take away how brilliant I believe this album truly is. This is a true collection of groovy rock songs, so much so that QOTSA could have titled this album exactly that. I have not been a fan of the last few QOTSA albums, and frankly I wish they could harness this approach once again. Check out the included track “Avon”. An absolute air-drumming seminar at its finest!!
ROXY & ELSEWHERE – FRANK ZAPPA & THE MOTHERS (1974)
One of the albums previously on this list, Joe Jackson’s Big World, was a live album containing new material. Considering the content of this particular album, that format was never more impressive or more challenging than Zappa’s album Roxy & Elsewhere. From beginning to end, it’s hard to believe the complexity of what was happening onstage during these recordings. From the colourful vocals of Napoleon Murphy Brock, to the guitar-fueled madness of Zappa himself, this is my personal favorite of all of Zappa’s recordings. Songs like “Pygmy Twilite” and “Village of the Sun” are absolute genius. The concert film of these recordings is STILL in limbo for whatever reason. Included is a clip of the song “Montana”, recorded during these sessions but not included on the album itself.
SCENES FROM A MEMORY-METROPOLIS 2 – DREAM THEATER (1999)
I simply couldn’t do a list like this without including Dream Theater. I like heavy music and I like progressive music. This band combines those two qualities perhaps better than any band ever has, and on this album its done to perfection. This is your classic “concept album” and tells an interesting story that needs to be experienced. But the true experience of this album is that it is a piece of song-writing and musical brilliance. If you have seen Rush’s biopic Beyond The Lighted Stage, you might recognize the now-familiar voice of long-time Rush producer Terry Brown (who also produced the vocals on this album). The album sees John Petrucci and Mike Portnoy at their monster best and requires many listens to truly appreciate. I am not a “Rolling Stone” magazine guy myself, but it does say something that in 2012 they named this album as the Number One all-time progressive album, beating out Rush’s 2112and Yes’s Close to The Edge.
THE ACTION IS GO – FU MANCHU (1997)
This album starts off with a bang, it also ends with a bang and actually this album is just one big resounding rhythmic bang. After a few good, but not great albums (in my opinion), new drummer Brant Bjork was brought into Fu Manchu. This would result in one of the greatest “Stoner-Rock” albums of all time. This is literally the perfect driving album. Sometimes you find yourself emulating driving just sitting and listening to it. You can hear a huge Sabbath influence on this album, at least in the sound of the instruments and the driving low end. Sometimes the vocals can leave a bit to be desired, but it is not really singing in the first place. Almost sounds like a dude talkin’ to himself, which adds to the coolness of this album. One of my favorite albums of the 1990’s indeed.
WELCOME TO SKY VALLEY – KYUSS (1994)
Somewhere around early 1995, I walked into a Sunrise Records where Tom (Tom has been mentioned many times in Mike’s blogs) was working. At this point Tom and I only really knew each other from local concerts we would run into each other at. The second I walked in he begged me to check out this Kyuss album on the listening station. I remember the look on his face when I didn’t instantly “get it”. Years later I had to bow to him and thank him for trying to open my eyes earlier. No one knows how to set a mood quite like Kyuss. The last album listed was Brant Bjork’s first album with Fu Manchu. This album is the last Kyuss album featuring Brant Bjork on drums. No coincidence here. This man knows how to wash songs with a subtle intensity. Check out the song “Demon Cleaner” sometime, with Josh Homme singing and see how Queens of the Stone Age were born. This album has been listed as a major influence for many of the heavy metal greats of the day.
WHALE MUSIC – THE RHEOSTATICS (1994)
The Rheostatics are definitely one of my favorite bands of all time, and the artist I have seen live the most in my life. Any band that calls their first album Greatest Hits obviously has a good sense of humour. There really is no album that quite captures “Canadiana” quite like Whale Music. Not to be confused with the later-released official soundtrack of the same name, this album ranges from the sweet to the insane. Take the song “Queer” for example. “Well the screen door is still broken, since you kicked your Kodiaks through it” and “I scored a hat trick on the team that called you a fuckin’ queer”, are lyrics that paint a Canadian portrait of everyday life. I love this album and frequently re-visit it only to find it gets better with age. Notable appearances on this album are Neil Peart on a song called “Guns” and The Barenaked Ladies (credited as The Scarborough Naked Youth Choir). Included here is the amazing opening track. Check it out eh ….
WHITE PEPPER – WEEN (2000)
Simply put, this is my favorite “Pop” album of all time. I am not a Ween fan per se. I cannot say I have actually connected strongly with any of their other albums. But when this album was introduced to me, it grabbed a hold of me and it will never let go. First of all, the sound on this album is absolutely wonderful. Second of all, the melodies on this album (with sprinkles of Ween weirdness of course) are something very reminiscent of The Beatles. I have always tagged this album as their “Beatles tribute”, and it was pointed out to me by a friend that “The White Album? Sgt. Peppers? White Pepper?”. Now I have not read that in fact that is what the name truly means, but I think that is a very good guess. I have played this album for a few musician friends of mine and the result is pretty much the same across the board. White Pepper simply “hooks” you in, it is that simple. Check out the Trey Parker and Matt Stone directed video for “Even If You Don’t” included here.
UNCHAINED – JOHNNY CASH (1996)
I was working at the “Record Store Chain” Ladano blogs about when I was first introduced to this album. It was instantly a revelation of what I do actually like about Country Music, and was the reason I became a fan of the older-style albums of the genre. Not enough can be said about the genius of Rick Rubin. The man who changed the careers of Slayer, The Beastie Boys and the Red Hot Chili Peppers got a hold of Johnny Cash and re-introduced him as the icon he always was. Hiring Tom Petty & the Heartbreakers as the backing band for the second American Recordings Johnny Cash release was a stroke of brilliance. The opening track “Rowboat” sees Cash cover a Beck song and make it his own. “Sea of Heartbreak” is a melodic ass-kicker. Everyone by now knows of the genius cover of Soundgarden’s “Rusty Cage”, so good in fact that for a long period of time Chris Cornell refused to play it live stating “It’s not our song anymore. It’s Johnny’s now”. No album of this genre has ever sounded bigger, if not any genre. A must have album.
VS. – PEARL JAM (1993)
This album had to be included on this list. I understand that everyone looks at Pearl Jam’s first album as this massive crowning achievement, but frankly I didn’t get it then and I really still don’t. Their second album I think is the best album of their career and probably my favorite “Grunge” album ever. Every song on this album is a classic to me and it does seem weird to call an album that was a Number One album on Billboard for five weeks straight “underrated”. But I truly do feel this album gets overlooked and that’s a shame. I find Ten to be kind of boring and redundant to be honest. This album is still fresh to me. I hope when it’s all said and done that this album is what truly defines them.
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