I’m gonna do this quickly because I am bone-tired and it’s quite late, and in general, the more time I spend trying to wrap my mind around the Academy’s often-baffling choices, the more intensely frustrated I become.
It’s a little better out there this week than the last couple, but we’re still biding our time while we await the imminent monster that is next week. Consider this an appetizer:
It’s not always the case, frighteningly enough, but this year’s annual single-disc roundup of tunes that are vying for the Recording Academy’s highest honors, Grammy Nominees 2010, plays like a mixtape of the year’s strongest, most fascinating music. (Imagine that!) True, you have to sit through the likes of Black Eyed Peas and Beyonce, as well, not to mention subpar material from the typically dependable U2, Sugarland, Rascal Flatts, and Kelly Clarkson, but I say any album which can wrangle aural diamonds from Kings of Leon (the staggering “Use Somebody”), The Fray (“You Found Me,” putting Isaac Slade’s scary-good vocals on a riveting piano-based pedestal), Lady Antebellum (the revelatory “I Run to You”), and Dave Matthews Band (“You and Me,” a sweet fare-thee-well to a fallen comrade-in-arms) onto the very same slice of musical real estate is mighty fine by me.
Another low-key week on tap, although with a new Patty Griffin record due at the end of the month, take heed: the new release wall won’t be this slow and dull forever. Dive in:
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, the second record from rising cult band Vampire Weekend.
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, his first album in nearly a decade.
, a four-disc live collection from A’s favorite road dogs O.A.R.
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They invariably end up pissing me off with their unjustifiable inanity, but because I’m a music fan all the way down to my toenails, I always look forward to the annual Grammy nominations. And because I’m an eternal optimist at heart, I always pray that this is the year the recording academy will get it right. Well, I’m not holding out a great deal of hope that the Grammy folks will suddenly correct their typical foolishness tonight by uniformly nominating people who actually deserve the praise, but let me just say this at the outset: if “Use Somebody” doesn’t at the very least nab a nod for Record of the Year, I’m throwing a rock through my television set. Let the concert commence!
November kicks off with a bang, as country’s hottest-selling lass is back with her hotly-anticipated third album, which has her working with some eyebrow-raising collaborators. Dig in:
Pop music’s venerable Now series is back this week with a pair of new entries, as recent radio hits from A’s beloved Black Eyed Peas (their record-breaking number one smash “I Gotta Feeling”), Jordin Sparks (the terrific “Battlefield”), Katy Perry (“Waking Up in Vegas,” a guilty pleasure if I ever heard one), Michael Franti and Spearhead (their cheeky top 40 breakthrough “Say Hey (I Love You)”), and others punctuate Now That’s What I Call Music, Vol. 32; and a fascinating cross-section of unforgettable club smashes from the past three decades turn up on Now That’s What I Call Dance Classics!, including any number of one hit wonders from the likes of The Weather Girls (“It’s Raining Men,” with the amazing Martha Wash blowing the roof off the joint), CeCe Peniston (“Finally”), Rob Base and DJ EZ Rock (their oft-sampled touchstone “It Takes Two”), and others. This is all well and good, mind you, and will probably find its way into my collection, since I have a profound weakness for this kind of thing. But please don’t tell me I’m the only one who is shattered by the Now folks’ decision to omit Everything But the Girl’s legendary 1996 monster hit “Missing” from this tracklist. Gotta tell you, guys: Todd Terry’s brilliant decision to lay down a furiously insistent house beat just beneath Tracey Thorn’s abominably sexy croon made for what I call a dance classic every damn day o’ the week. Recognize.
Weeks and weeks of slow-to-nonexistent release slates have led to this fresh hell: August’s final Tuesday is so jam-packed with new stuff that I’ll be typing about it from now until Christmas. But I’m not complaining, mind you: you have no idea how great it will be to walk into the record store and actually be greeted by a new release wall which is literally popping with exciting material begging for my attention.
(Incidentally, this is the Buzz’s 300th post, hard as that is to believe. Thanks to all my readers who continue to follow me on this crazy ride!)
Her annoying debut single “The Way I Am” — and the spare, folk-y album, Girls and Boys, on which it appeared — became a word-of-mouth sensation after saturating the whole of television a couple of years ago, popping up on such series as “Grey’s Anatomy” and “One Tree Hill” as well as in an extensive advertising campaign for Old Navy. A collection of b-sides and live recordings followed last year, and now, indie queen
Ingrid Michaelson has returned with her true sophomore project, Everybody. This gal’s tinny voice irks me no end, but she clearly has her fans, and they will probably turn out en masse to snap this up. Mazel tov, y’all.
It’s exceedingly quiet out there in musicland this week, which gives you a perfect opportunity to catch up on some great recent records (Dave Matthews Band and Mat Kearney, to name but two) that may have slipped past your consciousness. If you must go record shopping this week, here’s what you’ll find on the new release wall:
Fresh off the brilliant remastering of her 1997 masterwork Blue Roses from the Moons, one of the finest songwriters in the history of music, the spectacular Nanci Griffith, is back this week with The Loving Kind, her nineteenth studio album (and her first of original material since 2005’s sweet Hearts in Mind). Kind finds Griffith delving into some politically charged topics, with a diatribe against Dubya (“Still Life”), an angry rant against capital punishment (“Not Innocent Enough,” a duet with musician John Prine), and, in the lovely title track, a remembrance of the Supreme Court case which made interracial marriage legal in this country. Griffith also takes a moment to pay tribute to her late mentor Townes Van Zandt in the album’s emotional high point,
“Up Against the Rain.”
After sleepwalking through the past several weeks, we’ve finally got a release slate we can really sink our teeth into. While we wait to see what gifts this week’s lineup of music has in store for us, allow me to throw out this question for discussion: am I the only one who thinks the new U2 record
After Eric Clapton (whose incredible, stripped-down versions of “Layla” and the devastating “Tears in Heaven” notched their album sales of ten million-plus and won their performer a wagonful of Grammys) and Mariah Carey (whose impromptu cover of The Jackson 5’s “I’ll Be There” became a radio supersmash) showed the network what a commercial goldmine it had on its hands in the early ’90s, a spare and intimate appearance on “MTV Unplugged” suddenly became a mandatory promotional tool — within a pair of years, Neil Young, Nirvana, 10,000 Maniacs, and Melissa Etheridge all had turned in landmark performances — and for many, a nifty li’l comeback vehicle. Take the case of Rod Stewart, who reunited with his former Faces partner Ronnie Wood for an acoustic set and unwittingly hurled his career back into orbit. Thanks to a startlingly fine cover of Van Morrison’s “Have I Told You Lately,” upon which — to the surprise of more than a few — top 40 radio immediately leapt, the resulting live album, entitled Unplugged… and Seated, went on to move more than three million units stateside and produced two additional hit singles (a reworked version of his early classic “Reason to Believe” and a raucous cover of Sam Cooke’s “Having a Party”). Unplugged returns this week in a special expanded edition which contains two bonus tracks — including a radically reinvented take on his 1989 smash “Forever Young” — as well as the original television broadcast, which finally makes a belated debut on DVD. And trust your Uncle Brandon, here if nowhere else: if only for Stewart’s priceless rendition — which can now be enjoyed aurally and visually, natch! — of Tom Waits’ unspeakably magnificent “Tom Traubert’s Blues (Waltzing Matilda),” this is worth the purchase price. (And memo to MTV, Natalie, and/or whomever else may be in charge of this: I’m still waiting for the aforementioned 10,000 Maniacs episode from 1993 — the recording of which
A certain mismatch on paper, yet a striking triumph in practice, modern troubadour M. Ward (best known for his work with Beth Orton, Norah Jones, and Bright Eyes) and rising actress Zooey Deschanel (whose biggest claim to fame is almost certainly her bitterly raw turn opposite Paul Schneider in 2002’s gut-wrenching love story All the Real Girls, and who is still slated to portray the iconic Janis Joplin in Penelope Spheeris’ oft-delayed biopic) have joined forces to create the duo She & Him. Having first collaborated on an end-credits tune for the 2007 independent film The Go-Getter, Ward and Deschanel enjoyed the experience so much that they decided to tackle a full-length project, and She & Him, Volume 1 was born.
