The Avett Brothers' breakthrough album, last year's Emotionalism, was a work whose broad influences were felt throughout and whose quiet ambition made it both huge and intimate at the same time. The Second Gleam, while keeping to the Avett's signature sound, doesn't share its predecessor's breadth.
What should we expect from a live recording of a band within a year of its own demise, a band who had recently dismissed its heroin addicted drummer and was already splitting apart at the seams in the wake of its own internal turmoil? Will it show the band burning out or fading away? With Live at Shea, we get neither. Instead it finds the Clash in their prime, a prime that lasted their entire career from its earliest rumblings out of the ashes of the 101ers to the near bitter end preserved here.
This is not the Elvis that made young girls scream (although he surely made plenty of middle-aged women scream), but it's a farther cry from the Elvis that died with so much bacon fat and prescription drugs in his system that he couldn't even sustain a bowel movement. In 1968, even if only briefly, he was the King.
The Violent Femmes return the favor to Gnarls Barkley (who covered "Gone Daddy Gone" on 2006's St Elsewhere) with this EP containing a cover of "Crazy." The trouble with Gnarls Barkley's offering was that it left the song entirely too intact. It sounds fine, but simply does too little to be truly interesting. "Crazy," on the other hand, gets a much larger injection of the Femmes wildly imperfect version of American roots music.
In a world that is so often style over substance, it's easy to get caught up in something clever only to find that there's no substance under the covers. Having been bit more than a few times, it's also easy to go to the other extreme and forget there are artists out there like Beck and They Might Be Giants and the late (and sadly underknown) Logan Whitehurst…and now, Son of Dave.
The Briggs music is so tightly tied to Oi that it's hard to separate the two. Because the band is from L.A. (and even sings an ode to their hometown on this album), it instantly raises the question of whether their music is true or just posturing.
Does anyone question that James Brown was the most intense performer of all-time? If so, they haven't seen these shows. Call him what you want, Mr. Please Please Please, Soul Brother No. 1, Godfather of Soul, but the bottom line is the man performed with an energy, urgency and intensity that puts everyone else to shame.
One of the great things about the Warped Tour is its desire to showcase activist and charitable organizations. Rock for Health is one such organization whose goals center around health care and advice for musicians who are frequently without any resources. Kristina Grossmann, president of Rock for Health, answered a few questions about the organization and its presence on the tour.
With a sophomore album, The '59 Sound out this month, a small stage appearance on Warped Tour, and a love for the Bronx, this Jersey punk outfit is making great strides in a short amount of time. If you were one of the thousands who grabbed the leaked album online…you already knew that.
The '59 Sound is a thoroughly punk rock album with tinges of rockabilly and Americana, but it also finds Springsteen in its heart. Part of that is the songwriting and another part is the vocal delivery, but it goes deeper.
