#115: Bob Dylan - Highway 61 Revisted (1965)

I've gotten to the point in Dylan's catalogue that instead of writing some lengthy first paragraph, it's better to say: It's a Bob Dylan album. Buckle up. It's gonna be good.

It Takes a Lot to Laugh, it Takes a Train to Cry
It's a blues number with the piano panned in an interesting manner. The right hand is on the left channel and the left hand is on the right channel. The drums are nice and simple which allows the harmonica to scream over the top. It does a wonderful job of being simple but it's never boring. The melody is sweet, the lyrics are (of course) top notched and the cherry is the steel guitar very gently on top.

Ballad of a Thin Man
This is what I'm looking for. It grabbed me from the beginning  it has a very eerie organ which creates a very unstable atmosphere. I love the piano which does a little punch over and over to drive the song and then Dylan comes in and makes it absolutely incredible. No one can accurately state just how amazing his lyric writing is, and it's even more amazing when you can write melodies such as this. Pointed at Dylan's particular sound and voice (which not everyone is a fan of), this track could absolutely be covered and be phenomenal as well, but I think it's Dylan's sound that really makes the track. I never see his voice as a detriment and I think those that see it as one, just haven't listened to him enough. It's not only the best track on the album, it's my favorite Dylan song so far.

Highway 61 Revisited

It's a mix of several genres, old school rock and roll, blues, and folk. I sound like a broken record but it's just amazing to me that he can be so solid track and and track out. I really enjoyed the keyboards on this track, they're not overly looking for attention but it's the details that makes Dylan's work so impressive. Every instrument is well written and is each part ensures that it fits with the overall picture.

All in all, I really enjoyed it. Dylan gets away from his folk roots and reveals a whole other side of himself. Musically, it's stronger than his other albums just due to more instrumentation. However, on this album Dylan really digs into the blues, but it's the mix of the blues and his lyrical genius that really pushes this album to be something very, very special. I wanted to like the album more than I did, but there's no doubting it's historical significance. While music may have change since this record's inception it will forever be a giant cog in the evolution of pop music.

Tomorrow's album: Gavin DeGraw's Chariot.

#114: Guster - Keep it Together (2003)

I had the pleasure of discovering Guster in concert. Guster teamed up with Ben Folds and Rufus Wainwright to create one of the most magical nights I had ever seen some summers ago in Columbus, Ohio. Their sound is filled with big harmonies, acoustic guitars, and a lot of percussion (instead of a drum kit).

Amsterdam
When they played this song live, that's when I fell in love with them. The acoustic guitar mixes beautifully with the edge of a few electric guitars to create a rock feel. The percussion throughout the album is top notch, it still plays typical drum parts but it has a completely different feel to it. However, it's the chorus that's completely butter. I absolutely adore the harmonies and the lyrics. It's one of their most versatile songs, it changes without fear and keeps the listener engaged throughout.

Homecoming King
It's the groove of the bass that does it for me on this track. The guitars do a wonderful job off adding so much to the overall feel, but it's the percussion and the bass that keep this track driving. While I may not have listened to this album in at least five years, I remember it all exactly as I left it. So while I may not be enjoying it as "new music" it's a testament to how many times I've played this record.

Ramona
It's always been one of my favorite Guster tracks. It's a little more subdued and little more relaxed. However, it's the lyrics that I've always gravitated towards. At times, it's not ingenious by any stretch but it's so incredibly effective, "Ramona, you're Miss Oklahoma and you miss Oklahoma." The Guster harmonies, though, are incredible throughout this track and throughout the record.

All in all, I enjoyed it. It just didn't have the magic that I remember it having. That's not to say that it's still not incredibly good, it's just that looking back - I really must have overplayed this album. Then again, some songs sucked me back in like the first listen (see: 'Jesus on the Radio' and 'Come Downstairs and Say Hello'). If you've never heard of Guster then they're absolutely worth checking out. They've released a few albums since 'Keep it Together' and I think I just may have to pick them up.

Tomorrow's album: Bob Dylan's Highway 61 Revisted.

#113: The Byrds - Mr. Tambourine Man (1965)

They're the poster child for what I think of when I think of the sixties. I imagine a band wearing colored sunglasses indoors with long hair, performing on a television show with peace signs and flowers everywhere. Their brown corduroy sweaters and orange tight pants for all to see as they perform their songs that all sound alike. Unfortunately, I don't mean this in an endearing way. I've listened to 33 albums from the 60's so far and I've enjoyed the majority of them - my preconceived notions of what the 60's were proved to be very wrong (I expected more bands similar to The Byrds). While these sort of bands were definitely prevalent, there was plenty of good music going on as well.

Mr. Tambourine Man
Maybe I judge song writing incorrectly. I really enjoyed this track by Dylan but I just can't stand it when the Byrds do it. I can only imagine that every Byrd band meeting starts the same way. "Hey, let's do a new song - what should we start with?" "Let's do the harmonies, make it all blend together so we don't really have a focal point and then we'll just do whatever for the rest - it doesn't really matter."

You Won't Have to Cry

This is the closest they get to the Beatles throughout the album and even then - they're a long ways off. The harmonies throughout are good, but I'm getting tired of listening to these "amazing" albums where they only do one thing well. I'm not saying that I do anything well - but I get it. You can do harmonies well. Let's try to use it a little less, it's only amazing if I don't constantly have it in my ear. Musically this is one of the best tracks on the album. The record tends to put musicality in the back seat throughout to make room for the harmonies, but this song finds a (merciful) balance.

It's No Use
It's the only song on the album that doesn't sound exactly like the rest of them. The vocal arrangement is slightly different in this recording, it allows a lead vocal to emerge and be the focus while the other harmonies are completely supplemental. Also, the music is actually present and has it's own identity in this song - it rocks a bit and even has a three second blistering guitar solo. If this was what the rest of the record sounded like, I would have definitely enjoyed it.

All in all, it's hard to believe that I was dreading listening to this album and yet, it was still a disappointment. If you've ever heard 'Mr. Tambourine Man' or 'Turn, Turn, Turn' and you've wondered if they have any other good songs - stop while you're behind. I realize that there's a generation that loves the Byrds and they absolutely should. The Byrds represent a decade of music and a style that may be viewed as the good ol' days. However, I personally lack any nostalgia and the music just didn't cut it. Through many publications I saw comparisons to the Beatles and all I can say is. The Byrds are the Beatles-lite. Wait - that's not even fair: They're the lite version of what ever the Beatles' lite's lite version is.

Tomorrow's album: Guster's Keep it Together.

#112: The Head and the Heart - The Head and the Heart (2011)

The Head and the Heart is still a relatively new band to the majority of the US. They're from Seattle and were declared 'Seattle's Best New Band' in 2011. They've had their music featured on 'How I Met Your Mother', 'Beaver Falls', and 'Chuck'. My buddy, Mike introduced me to them and for that I'm very, very grateful.

Coeur D'Alene
I really love the bridge - it's got this quick quarter note piano pounding away. The harmonies throughout this album are phenomenal. The lead singer has this very folky, strong, yet fragile sound to it and when he goes a bit higher in his register it really opens up and it has a wonderful quality to it. Drums push the song along but it's the piano that really makes this track, it's well written and recorded. It's not my typical style of piano but it makes me debate whether it should be. It does a marvellous job of taking chord structures, creating a rhythm, and also introducing trills and embellishments all without distracting from other instruments.

Ghost

This album is making me reconsider the role of the piano in a group such as this. It doesn't do anything too overwhelming and it doesn't control the feeling or the style of the song, that's left to the harmonies, drums, and bass. While there's plenty of harmonies throughout the song, they're blended in such a way that they're completely complementary and never distracting. However, what I really enjoyed about this album so far is their lack of fear to switch styles mid song and their return to the original theme in such a fluid way.

Lost in My Mind
The harmonies are absolutely gorgeous, I love the piano, I love the guitar, I love the bass, I love the drums, I love everything about this track. The instrumentation stays static but the bass keeps the track moving along. It provides the best moments on the album and it is the best track on the album. I'm impressed at how they keep things interesting throughout the album, nothing gets old. The moment your ear is ready for something new it magically appears before you can finish your thought and it's nothing like you had imagined.

All in all, I'm surprised by how much I enjoyed this album. They do so many things right, why am I just hearing about them? I've really enjoyed the lyrics, they deal with very personal matters and relationships. The writer has a very unique way of looking at things, nothing is an easy rhyme, and you never see anything coming. Yet when he sings the words everything makes sense - even though you never would have thought of it yourself. It's not that the lyrics are incredibly well written, it's the manner in which they're said that I truly appreciate. They are greater than the sum of their parts; no aspect of the music is awe-inspiring but together they create something very unique.

Tomorrow's album: The Byrds' Mr. Tambourine Man.

#111: Bert Jansch - Bert Jansch (1965)

Bert Jansch is a Scottish folk musician who was also a founding member of the band Pentangle. He was a part of the British folk revival in the 1960's and received two BBC Lifetime Achievement Awards (one for his solo work and one for Pentangle).


Smokey River
It's the first instrumental track on the record and the guitar picking is absolutely exquisite. At times it sounds like an army of guitarist coming toward the listener and it's hard to imagine all of it coming from one guitar. I also enjoyed the way the guitar was recorded - you can hear all of the little details in the room as well as Jansch's breathing.


Needle of Death
Throughout the album the guitar picking is top notch. As for the compositions and the vocals - not so much. It's not that either of these are bad by any stretch but the guitar clearly carries the album. I'd love to be able to play like this, however, the entire album tends to drone on a little for me, it's all extremely similar. While there may be some variations between songs, its just picking and vocals - or just picking. It's incredibly well done but there's just not enough variation for me.

Alice's Wonderland
The guitar changes have so much life in them. The song may be short but it surely doesn't overstay it's welcome. It's incredibly well written, fun to listen to, and it's the best track on the album. I found throughout the album, I enjoyed the instrumentals more than the tracks with vocals. Only because the guitar was more interesting and was better sculpted. The tracks with vocals required the guitar be tame leaving room for the lyrics and melody.

All in all, it's very well done - it's just not my thing. I can truly appreciate just how amazing the guitar picking is, but the other components of the music fail to intrigue me. I had no desire to listen to the lyrics or the melody, they didn't feel dynamic enough. However, when I purchase an acoustic guitar I'll sit down with a few of Jansch's instrumental tunes and give them a whirl - some of them are too good not to.

Tomorrow's album: The Head and the Heart's The Head and the Heart.

#110 - Sugar & the Hi-Lows - Sugar & the Hi Lows (2012)

I chose this album because I'll be seeing them in concert here soon opening for Ingrid Michaelson. EDIT: They were awfully, awfully good. In some ways I enjoyed them more than Ingrid. Sugar & the Hi-Lows consist of Trent Daabs and Amy Stroup.

Two Day High
It's a blues number and I really like the band's sound. It's very full - the bass is very full and the drums are hidden yet in front. Daabs' lead vocals are very unique and very cool and when Stroup sings harmonies with him, it's absolutely magical. The guitars are reminiscent of Brian Setzer with a little less edge and a little more simplicity.

I've Got You Covered
It's an old school 50's ballad with a more modern sound. The band's sound is very much cemented with is both it's biggest strength and weakness. While they have mastered their sound and clearly defined who they are the recordings lack any kind of variation which would allow the listener to appreciate their signature sound even more once it was reintroduced. The tracks don't necessarily run together but they also don't separate themselves. That being said, they do what they do quite well. This track does a wonderful job of creating an atmosphere in which nothing actually happens, but it remains very full and bright - its powered by emotion rather than music.

See it For Yourself
This is the biggest and best track on the album and it's really the only one that stands out. Stroup takes over lead vocal duties and the song is much more rock based. The majority of the album has both vocalists singing with Stroup singing backup and while it has a beautiful blend to it, it's also incredibly overused. I very much enjoy it but the album desperately needs more tracks like this to break up their otherwise formulaic style of writing. This tracks is absolutely worth checking out.

All in all, it's a very good album - I enjoyed it. Technically speaking the album didn't spike out enough for me. Dynamically it stays at the same spot for it's duration. The snare drums never leap out at you, there's never any accented notes, and there's nothing to cause any disturbance in the machine. I don't think it's necessarily a problem with the band themselves as much as the recording and the production. I like the music, I like the sound, I like the band, and I think they could definitely make some noise. If this album was remixed it could be something special. I really look forward to their next album.

Tomorrow's album: Bert Jansch' Bert Jansch.

#109: The Beatles - Rubber Soul (1965)

It's not even fair that I'm allowed to listen to the Beatles this early in the reviewing process. The Beatles are going to be impossible to beat across a few albums and they're absolutely the most influential musical act I've ever heard. They're one of the first groups to believe that an album can be a complete entity, not just a collection of tracks. The album's cover was the first time in the US that the name of the group was not present.

You Won't See Me

What's scary about this album is that this is one of the "weakest" tracks on the album. The 'ooh la la' harmonies provide a great counter melody to one of the greatest vocalists and the greatest song writer of all time. Paul lays down this funky, sultry, pinpoint perfect bass to drive the song while the train type harmonies blow through the song. It's such a well crafted song and the recording is top notch. If this were done by any other group this is potentially the best track on the record. That's what makes the Beatles so good - track in and track out it's just incredible and they sound nothing like the others -the level of contrast is ridiculous.

Michelle

It's one of the most beautiful, well written love songs of all time. The guitar and the chord structure are gorgeous, it's unparalleled to anything else recorded before this year. As for the lyrics, they're incredibly well thought out and while they may not have absolute depth - it's more than made up for musically. Then again it's a love song, let's not over think it. As for the recording technique it uses a very modern style of panning and it's the first time I've heard anything quite like it on the list. Everything is separated very well, it's crystal clear, and you can focus on any instrument.

What Goes On

This album is just so ridiculous. There's a lot of country influence as well as rock and roll. The harmonies are just mind blowing - Ringo sings wonderfully but I can never get over how much I love the harmonies. I also really appreciated the chunky guitar on the verses pushing it along. While the bass was completely out of the way and it wasn't really supposed to be a focus (on the verses) - it remained very interesting. When it shifts into overdrive on the chorus, it really fills the song out nicely. The only part that never got terribly interesting was the drum parts (throughout the album) and that's part of the beauty of Ringo's style. He hid in the back so the others could shine - I don't think it could have worked otherwise.

All in all, it's absolutely incredible. What's ridiculous is the fact that tracks such as, 'Drive My Car', 'Girl', 'In My Life' weren't mentioned above. I've gone through several phases where there were musicians that I just couldn't get enough of. While over time I may have stopped listening to many of them, the Beatles feature a vast collection and because of the quality of their collection I'm still tuned in all these years later.

Tomorrow's album: Sugar & the Hi-Lows' Sugar & the Hi Lows.