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John Wesley Harding with Eugene Mirman – World Cafe Live (Philadelphia, PA) – May 21, 2009
Billed as “Wes and Eugene’s Cabinet of Wonders”, this show also featured singer-songwriters CHRIS MILLS and JONATHA BROOKE performing a few songs each along with Philadelphia-based writer KEN KALFUS and actor/writer DAVID MORSE reading from their works as well.
Though the Kalfus and Morse readings were excellent and the songs by other songwriters nice (though not really to my taste) as well, Wes and Eugene dominated the proceedings. Wes played about 7-8 songs, many coming from his new album Who Was Changed and Who was Dead, and Mirman wowed the audience with his riotously funny stand-up comedy.
John Wesley Harding – Who Was Changed and Who Was Dead (Popover)
His first new album since 2004’s Adam’s Apple and his first release on his new imprint Popover is a typically stellar collection of songs. Highlights include “Top of the Bottom”, which can be construed as the story of his career in the span of a song (albeit told in a very funny manner), and “The End”, a biting gem that’s been getting lots of airplay on local station WXPN here.
John Wesley Harding – Don’t Look Back Now (Popover)
A bonus disc available with initial copies of Who was Changed and Who was Dead, fans will want it as it contains live performances of songs spanning the range of Wes’ career. The recording is from a 2008 show in Brooklyn.
Nick Cave – Dig, Lazarus, Dig! (Mute)
I know I’m really late to the game on this one, but between 2007’s excellent GRINDERMAN side project and this colossus from last year, Nick Cave is on a roll. Perhaps the Grinderman project gave him a chance to flex his muscles and produce an album’s worth of ditties more in line with his harder-edged earlier material (though nowhere near the crazed level of much of his old band THE BIRTHDAY PARTY‘s catalog) than with the stuff that directly preceded it. Perhaps some of that leftover Grinderman energy encapsulated this album, too, as songs like the ’60s garage-like “Midnight Man” really rock!
Motorhead – No Sleep ‘Til Hammersmith (Bronze)
A candidate for best live album of all-time and one of the finest heavy metal albums ever, I don’t think that anything else needs to be said about this one that hasn’t already been said many times already. Everyone with an interest in heavy metal, punk rock or any kind of heavy music in general needs to hear this.
Townes Van Zandt – “Rake”
When I saw the 2004 documentary Be Here to Love Me, I was completely unfamiliar with Van Zandt’s music, though I was already well aware of his legend. This haunting track from his 1971 album Delta Momma Blues opens the movies and if memory serves, is also heard during the closing credits as well. I was completely captivated by it the first time I heard it and years later, I finally got the beautiful 180 gram vinyl reissue of Delta Momma Blues!
Wilco – Wilco (The Album) (Nonesuch)
On initial listens, I’m really enjoying this one quite a bit. I think it’s definitely a stronger effort than their last one, 2007’s Sky Blue Sky. It’s not a retreat-style album and JEFF TWEEDY and company seem looser, freer and fired up as well!
The Trashcan Sinatras – In The Music (Lo-Five)
This is yet another stunner from one of my favorite bands of all-time and just pure, beautiful sadness. “Should I Pray” is my early favorite, but all of it is excellent.
UK Subs – Endangered Species (New Red Archives)
The last album the UK Subs made with the classic lineup featuring mainstay vocalist CHARLIE HARPER, guitarist NICKY GARRETT and bassist ALVIN GIBBS, the feel is a lot like the BUZZCOCKS‘ classic A Different Kind of Tension. Side 1 consists of relatively straightforward, albeit great, punk rock tunes like “Fear of Girls,” “Lie Down and Die” (covered by DAG NASTY) and “Down on the Farm” (covered by GUNS ‘N ROSES), but side 2 has some of the most distinctive music they ever made. Most of it has more in common with post-punkers like early U2, COMSAT ANGELS, THE SKIDS and what not than anything they’d done before or since.
Passion Pit – “The Reeling”
This is perhaps my favorite song of the moment. When I first heard it the other night, I knew it would be a big favorite and an instant classic. I almost couldn’t believe that a song in this style, with an overt homage to ’80s synth-pop and Eurodisco (albeit with lyrics that seem to contain large doses of paranoia), could be made today. On repeat listens, it’s clearly the work of a modern act rooted in indie-rock paying tribute to one aspect of the ’80s and as such that description sounds quite tedious, but trust me this is anything but if you like that sort of thing. I’ve still yet to fully absorb the new album Manners (which this track is on), but this song is really kicking my ass right now.
