#132: Jason Mraz - Waiting for My Rocket to Come (2002)

Before his huge song 'I'm Yours' entered everyone's life and refused to leave, there was a very different Jason Mraz on the scene. Brace yourself: instead of a fedora, he wore a baseball cap. Musically it's very different too. The album is full of sexual innuendo, as if the title of the record didn't give that away. Speaking of obvious things, I learned a few things recently. Will.I.Am is just the name William. Jason Mraz's second album is called Mr. A-Z and it took me years to realize Mr. A-Z = Mraz. If you never it noticed either, you don't have to admit it - and you're welcome.

You and I Both
He's got a beautiful voice, chill guitar vibe, and a solid backing band. Without question, these songs stand on their own. I'm sure they were written on the guitar without any regard to the rest of the instrumentation. However, the bass, drums, and electric guitar really add to the overall feel of the track without it losing it's identity. Listening to a track like this forces me to truly appreciate how much this project has affected me. While I do enjoy this song, I don't as much as I used to. It's nice, it's fluff, but really it lacks ingenuity (not that that's a bad thing). Fluff is good (in moderation).

The Remedy ( I Won't Worry)
It's Mraz at his best. He does a lot of things right but I always adore his quick, witty lyrics. They're like Pokemon, there's no way you can catch 'em all - at least not on the first listen. Then, when you step back and really focus on the words, they're really good. Musically, he's solid. The big, soaring chorus allowed this to be a big radio hit.

The Boy's Gone
I chose this song to spotlight because it provides one of my favorite moments on any record. It's a solid song but the moments from 2:28 - 2:45 is absolutely money. The stuttering rocks my world. The rhythm puts me at a loss for words. While it's cool out of context, in the moment it's absolutely ridiculous. After all these years I still cite it as one of the most mind-boggling moments on any record. What possessed him to do it and how is it that every time it's so amazing?

All in all, I overplayed this album and yet it still stands up. I shelved this record for quite some time in favor of some of his later records and while I may not be pulling it out again soon, I do recognize it's a solid début album by a very special artist. Despite Mraz's image as just another guy with a guitar (which I still don't understand) his music is way better than public opinion gives him credit for.

#131: The Kinks - Face to Face (1966)

The Kinks were formed by the Davies brothers and were part of the British Invasion into American music. They rose to the top with hits such as, "You Really Got Me," but this particular album is a little different from that style. Like (what seems to be) with every set of musical brothers, they dismantled the band over creative differences. They are members of the Rock and Roll Hall of Fame, they had 17 top 20 singles, and 5 top 10 albums in the UK.

Dandy
I know that this album is notable due to it's change over earlier Kink albums, but at times it feels more like a Beatles album to me than a Kinks. Obviously, they're both British rock and roll bands, but they're much more light-hearted this time around. When the Beatles do this type of floppy song it's in reverence to the genre and then they go back to the more difficult, deeper songs. The Kinks, however, never really graduate past this. They do have glimmers of brilliance and there's some really neat harmonies and melody lines that feature some dissonance and they work beautifully with the chord structure.

Too Much On My Mind
So it's not just the Byrds that have this prototypical 60's sound that I despise. Unfortunately for me, I have a lot of records to go before I get out of this period of music. If I keep hearing tracks like this, I may have to change the rules. There's just not enough musical ingenuity to the tracks. It's a formula of the genre in which every song sounds the exact same because it's popular (this isn't just a 1960's problem, there's issues with it today). Obviously it was big in it's time but it has not aged well.

A House in the Country
I don't know if I prefer this or "Rainy Day in June," both are candidates for best track on the album. This track features a lot more rock guitars, a bit of bluesy piano, a driving bass line, and some really cool rhythmic breaks. This song could easily be translated today and be a sneaky song that sticks with you.

All in all, it's a good album. It started out strong, got really rough, and then rebounded quickly. There were a few tracks where I was a bit worried about the overall quality, but they're an incredibly solid band. I'd definitely like to hear some later Kink albums and I think the guitars are something I could learn a lot from. As for every 60's album, the drums aren't as prominent or as interesting as I'd like them to be. I don't know if, "I'll Remember" was inspired by the Beatles or if the Beatles were inspired by the Kinks but the similarities are eerie.

#130: Gavin DeGraw - Sweeter (2011)

After falling in love with his début album, 'Chariot' I've given DeGraw chance after chance to amaze me again. While I enjoyed his self titled follow up, this is really the first album that gets back to the Gavin I fell in love with. There's no doubt he's pop music but he provides enough musical depth that it continues to be an enjoyable listen months after it's release. The album features co-writers for the first time on a DeGraw record, such as Ryan Tedder, Butch Walker, and Andrew Frampton.

Sweeter
A very dirty, sweet groove keeps the song moving while DeGraw sings his lungs out. It's really the calling card of his best songs. He crafts such great melodies and a lot of times the music isn't even necessary. It throws in a few cool grooves and force heads to bob. This is the definition of his signature sound to me and while I think DeGraw hasn't done his best work yet, I think he's well on his way. The reason this album was in my regular for rotation for months was because of tracks like this. They're fun, well crafted, and they groove so well.

Not Over You
It got plenty of airplay and recognition and yet it's the worst track on the album. The man knows how to write good music and how to write pop radio music, but the combination just isn't quite there yet. It's not a bad song by any stretch but it goes back to the only big noticeable problem on 'Chariot' - the lyrics lack any kind of depth. Unfortunately the music isn't much better. Usually, Gavin mixes it up enough and doesn't stick on an idea too long, however, this song feels extremely repetitive.

Radiation 
By far the best track on the album, one of his absolute bests. From the amazing intro (reminds me of Rob Thomas' Something to Be) to the bouncy step of the piano it never lets up. Awesome bass lines are like free food. If you didn't get it free, it's still good - but when it's free - it's amazing. The bass digs and drives throughout and really pushes the song over the edge. Of course, the the melody is boss. I can't express enough my admiration towards his melody writing.

All in all, it goes back to lyrics. I tend to forgive crummy lyrics if the music is good. This album is no exception. I like the fact that many of the lyrics are very open and generic, however, it's the times that he's a little more specific that I'm truly locked in. On the counter point, 'Candy' is lyrical fluff at it's best. It's nothing special but it's one of my favorite tracks on the album. He dances on the lyrical line throughout the album and despite the occasional misstep onto the wrong side - it's a very enjoyable listen.

#129: The Monks - Black Monk Time (1966)

The Monks were not a commercial success and neither were any of the tracks on the album, however, it's been reissued a number of times and they have become a cult success. This is their only album and the band was formed in Germany by US soldiers.

Shut Up
It's interesting how this band is both jazz oriented, yet there's factors of punk and rock as well. I like how the rhythm holds such a primary role in the music. Usually jazz has a plethora of ideas and not nearly enough focus, this however, has quite the opposite. It's interesting, it's not like other songs from this era, but it also slightly misses the mark. They stick to one idea throughout the song, but in order to keep it interesting the songs are bite sized.



I Hate You
My favorite part of the band so far are the crowd vocals. The Monks have a knack for finding really cool grooves and the because of the vamping the lead vocals really need to shine - and they do. There's a lot of fall off notes and care put into the performance. The bass doesn't push as much as I'd like it to, but the dirty guitar is perfect. The drums find a rhythm, nails it to the ground, builds a bombing shelter around it, and then nukes everything in sight to ensure that the rhythm is not disturbed. It. does. not. change.

Complication
I dig not dig all the lyrics, the album starts with this sort of, "Heya mister stop sending troops to 'Nam." Which I may have appreciated in it's time, but especially since it's so generic I have a hard time doing anything but roll my eyes when I hear it today. I'm all for a song with political motives (see Randy Newman's Political Science) but at times it feels more like Green Day's "Holiday" where it bludgeons you over the head repeatedly with it's politics. Musically  this track is no different from any other track - it's not bad but it shares all the same motifs and themes.

All in all, it's an interesting album. I found the best moments were on "We Do Wie Du" because of their use of harmonies. I didn't find the repetition of this track to be bothersome because there was enough to keep me engaged. I do appreciate the Monks ability to force me to listen to this album differently, however I found myself in a perpetual state of waiting for the band to transition out of their current phrase. I enjoyed a lot of the riffs they came up with, but they're driven so far into the ground that there's no sense in saving them or trying to dig them out - instead they just start digging another hole next to it. There's no doubt that popular music needed a shot of the Monks, it's primal in certain aspects and they do plenty of things right. I think plenty of musicians are able to learn from this band, take what they did well, and incorporate it into a different setting. The Monks aren't the full package but you have to admire their rawness and their talent.

#128: Fiona Apple - Extraordinary Machine (2005)

My love for her music is unique to any other musician. Granted, Apple has her faults just like everyone else but maybe we all need to be a bit more like her. She recently cancelled her South America tour to be with her dying dog. She said, "Sometimes it takes me 20 minutes to pick which socks to wear to bed, but this decision is instant... I am not the woman who puts her career ahead of love and friendship. I'm the woman who stays home and bakes tilapia for my dearest, oldest friend."

Extraordinary Machine
She's absolutely brilliant. There's really no other way to say it, she's among the absolute bests in my generation. It's a shame she doesn't get the true recognition that she deserves. The music is exquisite, the lyrics are witty, and the melody is beautiful. It creates a very machine-like feeling and yet it's very big and boastful without overstating. It's an amazing orchestration of horns, flutes, bass, bells, and strings.

Better Version of Me
It features a very gritty, dirty piano part with some kickin' drums, and a low dirty bass. That's probably the best adjective for this song: dirty. Even the horns and organ are rough. What I'm amazed by is how much is going on and yet there's so much sonic space for Apple's voice. No instrument steps on another's toes and it flows incredibly well. However, it's the bridge that does it for me. I love bridges that are so completely different from the rest of the song and yet fit perfectly. "Here it comes, a better version of me."

Not About Love
When she performed this live it was an absolute stunner. It was the best birthday week I've ever had and even with a Cincinnati Reds play off game in the mix, Apple still was the brightest spot of the week. I absolutely adore the anger and the brokenness on the chorus. While I love the recording, the band and Fiona absolutely killed it live. The song is a mish-mash of emotions and ideas and much like most of Apple's songs it somehow works perfectly together.

All in all, it's a solid record. How could it not be? After being floored by some of her lyrics on her most recent album, "The Idler Wheel..." I focused a little more on the lyrics this time around. Songs I enjoyed but didn't love took on a whole new meaning and perspective (see: Parting Gift). Then there were some songs that I just couldn't get over the beauty of the arrangement (see: Waltz (Better Than Fine)). I think she's getting better and better with age and she's one of the few artists I truly hope never, ever stops recording.

#127: Bob Dylan - Blonde on Blonde (1966)

The most ridiculous part about Dylan is that this is the 3rd album he had started to write/record in 1965. Upon it's release in 1966, it was rock's first double albums (2 records, 4 sides). The man is a machine, I wish I had a better understanding of his words and how he crafts them. He's an icon, he's incredible, he is simply Bob Dylan.

Visions of Johanna
I love the organ, the bass, everything about this track. It does a wonderful job of not overstating anything. Sometimes having the ability to do amazing things is overrated, at times music can be much more enjoyable with a lot less. It allows Dylan's lyrics to take control of the music and while I may never understand exactly what he was trying to say, he says it wonderfully.



Just Like a Woman
An absolutely beautiful song. The melody is so incredibly sweet while the lyrics take over the song. It's just another brilliant song from Dylan. The lead acoustic guitar along with the organ just fill out the song so phenomenally. The harmonica solo is extremely tasteful and the tone is absolutely perfect for this track. There's really not much else to say, it's the best track on the album.

Sad Eyed Lady of the Lowlands
What amazes me most about Dylan is his ability to tell a story. There's millions of people out there that debate and argue the meanings of each and every one of his songs. There's many different ways to interpret every piece and while the writer's intention may not always be clear, it's almost better this way. It means what you want it to mean.

All in all, it's a very, very good album. This album is full of folk and blues and while I recognize that every track on this record ranges from amazing to incredible, it's also 73 minutes long. Then again, I'm getting into Dylan more than I ever thought I would. There's not many artists out there that I can sit through for that kind of inordinate length of time, but with Dylan - it's a pleasure.

#126 Kate Miller-Heidke - Nightflight (2012)

I fell in love with Kate Miller-Heidke because of songs like, "The Facebook Song (Are You Fucking Kidding Me)" and because of her album, Curiouser. Ben Folds was quoted as saying, "She's one of those people that actually does deserve to be called a unique talent." As a operatic singer, Miller-Heidke has received a number of awards, however, her unique voice and pop sensibilities really do create something special.

Sarah
Best tracks on the album. There's a lot more depth and dynamic changes on this track that are sometimes lacking otherwise. The chorus is bombastic and epic and Miller-Heidke provides the perfect tone and lyrics to fit the music (or is it the other way around?). I love the lyrics, the story, the anger, the raw emotion of it all.  Miller-Heidke isn't known nearly enough here in the states.

Nightflight
I decided to spotlight this song based upon one of my favorite lyrics I think I've ever heard. It's about taking a red eye flight and she says, "And if one more person coughs on me I'm gonna punch them in the face." It's in such contrast to the beauty of the song and the emotions previous to this. Then again, anyone who's had to take any kind of public transportation can totally understand a little bit of rage over something so trivial. It's an absolutely beautiful song and it's absolutely worthy of being the title track.

The Tiger Inside Will Eat the Child
Every song on the album was written by Keir Nuttall/Miller-Heidke except for two. "Let Me Fade" was written only be Heidke and Nuttall is the sole writer of this song. Knowing this, you can really tell what kind of influence Nuttal brought to the album. The lyrics are brilliant and the singing is (as always) spot on. I love the dynamics that are used on the song with Miller-Heidke even whispering coming out of the bridge. She has the uncanny ability to do these sort of things and make it seem so effortless and natural. However, if others were to try it, it probably wouldn't pan out.

All in all, it's good - it just didn't gel with me like her other albums. There are a few songs on this record that I really got into, but for the most part I was waiting to hear another album like Curiouser (and this isn't that album). It's commendable that she continues to grow and there's no doubt that she's getting better and better, but I'd this album grew a little out of my wheelhouse. Don't get me wrong, it's still a very enjoyable listen. If I had reviewed this album when I initially heard it, the score may be lower. However, the more I listen to this album, the more it grows on me and the more accepting I am of it having it's own identity.