Quick Hits, Vol. 269 - oldies (Pearl Jam, Prince, Husker Du, The Meters)

Pearl Jam - Unplugged.  This disc randomly popped up on Spotify a few weeks ago, which was a very pleasant surprise.  It is awesome.  You can tell when it was in the evolution of Pearl Jam, because every song on here is from Ten (except for "State of Love and Trust," which was on the Singles soundtrack right around this time).  Only seven songs long, which is obviously disappointing, but they're damn good renditions of some of the classics from the catalog - "Jeremy," "Alive," "Even Flow," "Porch," "Black," and "Oceans."  I've always felt like "Porch" didn't get the love it should have - that track is a tightly wound nugget of rage that then soars when you hit the chorus.  Very singable and cool.  

Those hats.  That weird mouth shape that Eddie makes when he sings ooooohhhhhh.  He looks like he could still be in freaking high school, man.  They get a little jammy up in here and it kinda rules - as Eddie falls off his stool and wriggles around like a weirdo.  Of course, in the 28 years since this thing was recorded, PJ has turned into one of the biggest rock bands of all time, so it is cool to go on a spelunking tour of them at their young, raw, beginnings.  This is great.  Glad they uploaded it after all these years.

Prince - Sign o' the Times.  1987 album that just recently got a big fat reissue that includes 800 billion versions of tracks and other weird oddities.  I wasn't actually familiar with the album, but apparently some people think it is a top tier pop triumph that must be loved.  Wikipedia says: "Though not as commercially successful as Purple Rain, Sign o' the Times was Prince's most acclaimed record, being voted 1987's best album in the Pazz & Jop critics poll and since being ranked as one of the greatest albums of all time by several publications. It has been regarded by many critics as Prince's best album, ahead of Purple Rain. Writing for The Rolling Stone Album Guide (2004), Michaelangelo Matos regarded it as "the most complete example of [Prince's] artistry's breadth, and arguably the finest album of the 1980s"  I'm not so sure I'm with them on that.  

"I Could Never Take the Place of Your Man" is a jam.  "Sign O' the Times" is weird and cool.  "Hot Thing" is very hot - I think Tubbs and Crockett should be arresting some coked-up strippers to it right now.  But some are just quirky without much pleasure ("The Ballad of Dorothy Parker" is in this camp for me, or "Starfish and Coffee"), or "Adore" is just annoying.  Maybe I just needed to be there at the time when it was released - I think there is some real truth to that as an issue when I try to go back to an older album that some people love.  If you weren't there when it hit, to hear this sort of sound for the first time ever, then you might not hear it that same way.  But as of right now, this ain't in his top three for me.  So many of the songs seem kind of plodding - something I never imagined I would say about Prince, but like I'm listening to "Strange Relationship" right now and it just has kind of a metronomic drum beat as the main backing to everything else that's going on.  Doesn't seem especially danceable or funky.  Feels like a lot of these tracks are sparse like that, which goes against what I love about funky Prince.  I'll let this one go back to it's place in the 80's.

Husker Du - New Day Rising.  Husker Du is an interesting band to me.  I missed them back when they were making music.  This is a 1985 album - right about then I was probably listening to Huey Lewis and the News and Madonna.  And this is some pretty scuzzy punk rock/post-punk/post-hardcore stuff - not the kind of thing I would have noticed at all in 4th grade.  It wasn't until high school that I found a love for Fugazi and Helmet and other harder-edged music.  I loved Bob Mould's later band, Sugar, and wore out my copy of Copper Blue.  But it's nothing like this, Sugar's music was awesomely catchy pop rock, like something R.E.M. could have made, while this is mostly unpolished thrashing music.  Like, "How to Skin a Cat" is aggressively loud and unpleasant.  "Whatcha Drinkin'" is straight punk with the classic drumming, guitar fuzz, and screamed lyrics.  Sounds like a perfect song to mosh to.  The closest song to something that might be considered radio friendly is "Celebrated Summer," which sounds like something The Replacements might have made, but even that is pretty scuffed and loud.

It's too bad - I figured maybe I would get into the band now and become a super Du Head, but now I'm just going to know that this isn't my jam.

The Meters - Look-Ka Py Py.  Came onto this one because of that Rolling Stone Top 500 Albums of All Time listing, and it rules.  Funky as all get out, this sounds like something that either should be immediately sampled for a rap track, or it already has been sampled for a rap track.  The title track is the one with the most streams.

That absolutely was sampled by somebody - I can hear it in my head.  Hold on.  Nope, couldn't come up with it but it was Cypress Hill (and 29 other things that I don't think I have heard).  Loving this thing, such a great funky sound.

2020 Albums of the Year (me)

I know that this sentiment has been ground into our eyeballs for so long that it no longer even really registers in a meaningful way, but what a year.  Like, what in the world has happened to the world around us?  Over a million and a half people have died for this dumb virus.  We own like 50 masks now, in addition to boxes of disposable ones.  I haven't been to my office to work since March 12.  Insane people protesting things that they don't even understand, a President hell-bent on destroying the democratic process and repeatedly dying on the most idiotic hills anyone could choose.  Learning that you don't know people like you thought you did once the chips are on the table and you can see what they really care about.  Missing hugs and holidays and restaurants and bars and record stores and the necessary moments of relaxation in the company of someone other than your immediate family.  It's all too damn much.  And in any different year, the solution for me to all of that confusion and anxiety would be to dive into music - go see every show in town, write about 125 artists coming to ACL, go browse the stacks at Waterloo Records and burn some money despite having everything available on Spotify.  But almost all live shows have dried up entirely (and the ones that are happening are weird and spaced out and like $300 a ticket).  A lot of albums shelved, most movies delayed.  Its all so damn horrible.

But, there are a few bright spots in the musical landscape, and I figured I'd celebrate a few of those here, to bring back at least some small sliver of normalcy to the year.  Once I'm done with this exercise, I'll go read other people's top albums lists and comment on those as well, but I try to avoid looking at those before I come to my own conclusions to avoid contamination.  A mask for my music brain.

The top album of the year feels so damn obvious, so effortlessly lying right there in front of me.  Feels like someone who had really listened to it this year, and actually likes/appreciates hip hop, would be unable to stick it at the top of their list.  If you've read this blog at all this year, then you know I'm talking about the new Meghan Trainor!  SO GREAT!  Just kidding.  You know I'm obviously talking about 

1.  Run The Jewels 4.  No other album this year managed to nail the perfect balance between very serious subjects and fun ass music.  I wrote an entire blog post about the album already, so I won't dig terribly deeply into that here, but you can go peep everything I said about it here.  Mike's verse in that song I posted up above is freaking hard as nails, though.

Now is when it gets more interesting, as I'd say I have a handful that are all vying for the second spot.  I'm going to order the remaining albums, but I want you, dear reader, to know that all six of the next albums are perfectly capable of being number 2 in my mind.

2. Kurt Vile - Speed, Sound, Lonely KV.  Just an EP, and covers, but in a year of massive loss for fringe/outlaw country fans, something about this lovely little tribute to the late John Prine struck a deep chord in me.  Vile sounds great anyway, but the simple perfection of "Speed of the Sound of Loneliness" and "How Lucky" just strike me each time I hear them.  Freaking awesome.  Review.

3. Soccer Mommy - color theory.  Hot damn, I just re-started this one as I worked my way through this list and it just makes me want to erupt in a volcano of pure emotional catharsis.  The chugging guitars appeal to my base caveman, but then the lyrics give it a depth that just can't be matched by the usual guitar-heavy track.  Review.  (actually note that whole set of reviews - I loved all four of those albums!)

4. Tame Impala - Slow Rush.  Of course, if I listen to one album more than any other (per Spotify's Wrapped), then it must have been a favorite.  There is something so hypnotically perfect about this mix of ambient synth dance music and rock and roll that draws me back in over and over.  I could listen to "Breathe Deeper" until the asteroid finally hits the earth and we are free from this mortal coil.  Review.

5. Chris Stapleton - Starting Over.  Sign me up any and every time this guy puts out an album.  Another great one.  If you need to cry, and you like dogs, just hop on over there to "Maggie's Song" real quick!  But even after that, stay for the guitar fireworks and his soulful voice.  Such an awesome artist.  Review.

6. Bruce Springsteen - Letters to You.  This one hit me at a vulnerable moment and made me cry, but I still stand by it as a very enjoyable album that taps into Bruce's classic sound.  I'm sure this looks like some OK Boomer pick, but I can't wait to sing "Ghosts" at the top of my lungs at a concert someday.  Review.

7. HAIM - Women In Music, Pt. III.  Home to my most streamed song of the year, per Spotify - "Summer Girl," which owes a massive debt to "Walk on the Wild Side" and yet still sounds badass on it's own.  Such a great tune.  And the whole album is very good - not just a one song wonder.  Review.

8. Sturgill Simpson - Cuttin' Grass, Vol. 1.  Spot on bluegrass covers of some of his great older songs.  Loved the fun surprise of hearing old songs converted into a new style, but also loved hearing Sturgill turn a quick about-face from that last album of groovy rock and diving straight into classic bluegrass.  Review.

9. Taylor Swift - folklore.  Lovely surprise.  I've tried out the newer surprise album a few times, but I think this one is connecting better with me so far.  I've been trying to go back and listen to the stuff I've saved from the year, and this one just has a beauty and realness to it that I appreciate so much.  Review.  The part when Bon Iver sings "step right up" on "exile" is going to power me through the winter.

10. Pearl Jam - Gigaton.  Such a homer pick, but when looking at this one versus the last few that I've listed below, I think this one wins out despite it being another one that reflects my age more than it should.  Gimme that classic alt rock goodness!  Review.

The also rans, which maybe could have taken over the tenth spot if Pearl Jam didn't have such a rooted, deep hold in my brain, are: Jason Isbell's Reunions, Freddie Gibbs' Fettucine, My Morning Jacket's Waterfalls II, Car Seat Headrest's Making a Door Less Open, Waxahatchee's St. Cloud, The Beth's Jump Rope Gazers, Khruangbin's Mordechai (try to spell either of those without looking!), Beach Bunny's Honeymoon, and beabadoobee's Fake It Flowers.  

I'm sure the critics will have the Fiona Apple album and the Phoebe Bridgers album and the Dylan album and all sorts of other things that I know I was supposed to like this year, but I'M LOCKED IN MY HOME LIKE A WEIRD RECLUSE AND YOUR SHITTY PITCHFORK REVIEWS CAN'T HURT ME ANYMORE!!!!

Anyway - I love you.  Thank you for reading my meandering thoughts about music and life and their intersection.  Someday we'll all be together again, spitting all over each other as we scream Run the Jewels lyrics to the sky, but for now, I' grateful to have this outlet for my brain and grateful to you for checking it out.  Smooches.  

Quick Hits, Vol. 268 (pile o' singles)

Howdy folks!  Time for a pile o' singles!  I've been trying to run through the full albums in my list a few times each just to make sure there isn't something special I am missing for the end of year list, while also trying to avoid everyone else's year end lists, and so I've ended up with a big pile of singles that I need to handle.  So here you go!

• Drake & Lil Durk - Laugh Now Cry Later.  I mean, how boring is Drake?  The beat here is appealing, with good horns and a nice bass line (that inexplicably leaves for a while?), but the lyrics are just more of him sing-songing vapid lines.  And, of course, the track has 309 million freaking streams.  if the bass stayed the whole time, I'd like this one more.  [since initially writing this, I've discovered that my middle kid jams this at every single basketball practice because she thinks it is "hype."  I'm sad for the future.
• Fredo Bang - Oouuh.  This song blows.  I was trying out some rappers that Rolling Stone had said were good in an article talking about, like, Birmingham rappers or some other out of the way place.  The title itself is shit, but the track itself is just generic stuff with too much singing.
• Travis Scott - The Plan.  Weird beat - sounds like Trent Reznor got caught up in Kanye's trip to Hawaii to make the Fantasy album.  Kind of ominous - totally forgettable.  Nothing about it sticks to the ribs at all.
• Temples - Paraphernalia.  Pretty solid.  I love the psych rock thing that Temples has done over the years, so I may be biased, but this sounds kind of Asian, kind of Strokes, kind of trippy, so I dig the overall vibe.  Not great, but good.
• Foo Fighters - Shame Shame.  Another one that I give a pass to for every track because I just love them, despite the derision it wins me from some friends.  I'll readily admit that the start of this one is weird - plucked violin strings and like a campfire drummer/clap vibe, and it never fully kicks in.  It definitely gets a little brawnier, but there is never the full-on rock out moment that I need.  I guess a new album is on the way.
• Sam Fender - Winter Song.  One of my favorite ACL discoveries from last time, who unfortunately bailed on performing.  This is some depressing shit though.  Seemed like it might be a Christmas song of some sort, although it does mention Santa.
• Tierra Whack - Peppers and Onions. This track, like all Tierra Whack songs, makes me purely happy.  The mouth clicking and whistling combine to make me grin, the bass makes me wiggle, and clever lyrics about gum stuck to her shoes keeping her from reaching the sun.  Nice one.
• Cornelius - Drop.  Reminds me of that Superorganism group - quirky use of odd sounds to make poppy tunes.  I found it because someone called him the Japanese Beck, which I don't think I'm hearing.  Not anything amazing.
• Local Natives - Statues in the Garden.  Starts like the psych version of the Beatles.  Nice enough tune, just not very interesting.
• Travis Scott, Young Thug, & M.I.A. - FRANCHISE.  Another ominous beat for Scott, but I kinda like this one.  It really doesn't give MIA much room to shine, but it's kind of a cool track.
• The Glorious Sons - S.O.S. (Sawed Off Shotgun).  Solid rock barroom singalong candidate.  "Yeeeeeeeaaaaaah, they sent the taxman, I lost my job and, you got hooked on Oxycontin, they shut the lights off, they took the car and, I bought a sawed off shotgun!"  Yeah buddy.
• City Girls - Jobs.  Salty ladies rap with solid lyrics and a middling, basic beat.  if the beat was more interesting, I think the track would be better.  I like when they tell me that they are going to whip my ass like my momma do.
• Pearl Jam - Get It Back.  Yeah buddy.  Pure Pearl Jamminess right here - quiet/loud in all the right ways, along with totally inscrutable lyrics that might be about whatever you want them to be about.
• Too Free - ATM.  When this came on again, I thought it was probably a Disclosure track.  Quirky electronic tune with some gentle vocals.
• Polo G - Pop Out.  I really like that he tells people to "tuck your chain," as that makes me think of Friday, and anything that does that is cool.  The guest verse by Lil Tjay is bad though, it takes the track down.
• BMW KENNY - #WIPEITDOWN.  Crap track.  Sounds like he's trying to create some sort of dance move by saying "wipe" over and over, and then telling people how to do the dance.  Which I hate.  Probably big on tiktok.  Bad beat too.
• Greta Van Fleet - My Way, Soon.  The guitar licks on this one sound like they are trying to emulate Pearl Jam instead of Zeppelin.  I know these guys are a flashpoint of anger for a lot of people, but I dig the schtick.
• Zola - Hold On.  Great track.  She's got some of the Highwomen on here crushing the harmonies - super pretty and a lovely sentiment.  Love it.
• YG - FDT.  Such a great thing that this exists.  I just wish it didn't drop the N word so much so that I could sing along to it without so much self-censoring.  This one was from 2016.
• YG - FGT 2.  I mean, I'm still FDT all day, but I'm also FG-Eazy all day as well, so this one doesn't do as much for me.

Quick Hits, Vol. 267 (Drive By Truckers, Chris Stapleton, AC/DC, T.I.)

Drive-By Truckers - The New OK.  These guys just recently released a pretty solid album, with a killer track called "Thoughts and Prayers" that called out politicians for their weak platitudes after a school shooting or some other horrible thing happened.  This is another good one, with a few fiery rockers that live in that same wheelhouse of pissed off redneck yelling about our country going to shit.  And I like it.  With lyrics like “Smashing medics and the once-free press ... Goons with guns coming out to play / It’s a battle for the very soul of the USA” or "heads getting bashed and tear gas, boys too stupid to be proud" you can tell which side of the argument they come down on regarding the current state of affairs in America.  Or singing about "flags of oppression" or nazis on "Perilous Night."  "Sarah's Flame" does some of the same, but actually name-checks "old fat Donny" when singing about Sarah Palin's effect on today's politics, which was apparently derived from studying bumper stickers on those trucks with confederate flags on them.  But it's not all doom and gloom, they also do a great cover of the Ramones' "The KKK Took My Baby Away," which is good stuff.  There is also a funkiness to some of this - it's not just straight rock, there are some groovy organ licks and bouncing bass lines that take it out of the normal alt country/southern rock where I would stick these guys.  The horns on "Sea Island Lonely" are definitely what I'm talking about.  But then the banjo weaving through "The Distance" draws them back over to where I think they ought to normally be.  And like their old buddy Jason Isbell, the power of this band is in good songwriting.  

Damn man.  I hadn't seen that much of footage from Portland.  What a fucked up time.  Solid track though.  But, this album has the classic patterning of a disc that is not that interesting to the crowd.  The first track has 217k streams, the second has 83k, the third has 72k, etc. until the final track has just over 50k.  You can tell that people are checking it out, but not getting fully engaged.  Which is too bad, although I agree that their last album was better than this one overall.  But this is still good.  I'll keep it around.

Chris Stapleton - Starting Over.  I'm just an absolute sucker for Stapleton.  Anything he rolls out will have me salivating and ready to gush about how great it is.  I thought Traveler was brilliant.  Liked the From a Room discs a lot as well.  And they have been slow releasing a few singles from this one to get me revved up for the main course.  The title track is winning the streams battle with 26.4 million streams.

Unbelievably sweet to think about getting to sing that song with your wife manning the piano and singing harmonies with you.  Just a perfect picture.

My love for him comes from a handful of things.  First, he's a flipping badass on the guitar.  I've seen him live a few times and the dude can freaking slay.  And if you listen to this disc, you get 31 flavors of his prowess.  His guitar also sounds like Waylon at times ("When I'm With You"), or Stevie ("Devil Always Made Me Think Twice"), or Gregg Allman ("Joy of My Life"), or John Mayer ("You Should Probably Leave"). 

Second, he's got soulfulness in his singing that is missing from most other country singers.  Some of these tracks are almost R&B (albeit like a swampy Southern R&B, this ain't Bel Biv Devoe).  "Cold" is the perfect example of that - brutal song about a broken heart, with powerful, gritty laments belted out over strings and a basic country backing beat.  Or righteous gospel fire on "Watch You Burn." 

Third, the dude can write lyrics.  "Whiskey and You" is an older example of that, but look at the album opener here: "Starting Over" - I keep finding myself singing it in my head - "It don't matter to me, wherever we are, is where I wanna be.  And honey for once in our lives let's take our chances and roll the dice.  I can be your lucky penny, you can be my four leaf clover, starting over."  It's lovely.  And it makes me want to start carrying a lucky penny.   Even just the opening line "well, the road rolls out like a welcome mat, to a better place than the one we're at."  He also uses it to pay homage to Tom Petty - the whole tune sounds like something off of Wildflowers - check the middle guitar solo or the opening guitar licks.  Some of the lyrics are just so warm and comfortable.  "Nashville, TN" is like that, and so is the killer "Maggie's Song."  "Hillbilly Blood" has some strong Steve Earle undertones.  "Arkansas" has some "Just the Good Old Boys" vibes (and is a fun rocker - if I lived there, I'd make that the State song immediately).

I need to talk more about "Maggie's Song" and discuss why it is going to make you cry forever.  First off, it sounds like The Band, which is dope.  Second, finding a sweet pup in a grocery cart, then giving her a happy place to run around with kids and chase squirrels, and then saying goodbye to her while laying down by her side and telling her she was a good dog.  COME THE FUCK ON, CHRIS!!!  When I have to bury my dog someday, I'm gonna be a damn mess.  Hell, now I'm a mess just thinking about that prospect.  Damnation.  Great song though.

Just another very enjoyable album.  I don't understand at all why Stapleton isn't on top of the charts forever, but he's freaking great.

AC/DC - POWER UP.  I MEAN, WHAT ARE YOU GOING TO SAY ABOUT FREAKING AC/DC? HAS THERE EVER BEEN A MORE RELIABLE BAND REGARDING THE OUTPUT THAT THEY CREATE?  EVERY SINGLE SONG SOUNDS LIKE IT COULD HAVE BEEN ON ANY OF THEIR OTHER 17 ALBUMS.  BANGING DRUMS WITH LOADS OF CYMBALS/HI/HATS.  A SCREAMY SET OF VOCALS ONE STEP AWAY FROM ANIMAL'S VOCALS FOR DR. TEETH AND THE ELECTRIC MAYHEM BAND.  GUITAR SLINGING RIFFAGE AND HIGH PITCHED SOLO-AGE.  LYRICS ABOUT EITHER ROCKING OR BONING OR ROCKING WHILE BONING OR BONING WHILE ROCKING.  IT'S BEEN THE SAME FOR 45 YEARS.  IF THAT IS YOUR THING, THEN THIS IS YOUR THING.  IF IT AIN'T, THEN GO LISTEN TO YOUR WHAM! RECORDS WITH YOUR MOMMA.  

At the same time, I think maybe we have moved on from some of these sentiments, which is what makes them seem like they could have come out in the 70's.  I think this is still okay, if a little crass: "You got a long night coming, And a long night pumping, You got the right position, The heat of transmission." It ain't "You Shook Me," but it's a pimply cousin.  And then "Money Shot" is unsurprisingly all about getting that money shot, by prescription, to cure what ails a lady ("Doctor, what's the antidote? Lady, just try the money shot. (Best taken when hot)").  <shivers uncontrollably> But then you've got: "if you rejeeeeeect me, I'll take what I want," which is a definitely troublesome lyric.  Top track is "Shot in the Dark" with 16.6 million, that even bites their own prior work in a more obvious way with those exact guitar riffs to open the track.

God, please don't actually show me the guys in the band.  That's just fucking depressing.  It's like an AC/DC cover band from the local nursing home got together for a jam.  I mean, they can still jam, but I don't want to see their dentures pop while they sing backup.  I'm good on this one.

T.I. - The L.I.B.R.A.  Man, I loved Paper Chase.  Just a great album from front to back.  I have yet to hear TIP create another that is that good.  There are a few (very few) tracks on here that are pretty cool, but the majority of it is pretty forgettable stuff.  "Respect the Code," which features Rick Ross and is supremely laid back and cool, is a good one.  There is also a weird handful of interludes by someone named Ms. Pat that are crass and kinda funny?  20 damn songs, over an hour, and it just feels like it keeps on going and going and going, with very little that piques the interest.  "Hypno," which bites part of the sounds from B.I.G.'s "Hypnotize" at least shows T.I. as a still nimble rapper who can still dominate a beat.  Most of the tracks have collaborators, but some of those really fall flat.  I was excited to see Killer Mike on one, but it's a lame R&B ass sounding track.  I wish that there was something super catchy or lyrically interesting on here, but not happening.  The one with Young Thug is the top streamer at 7.1 million, this is "Ring."

Sounds like a generic new Atlanta trap track - short lines of nonsense lyrics over a clicky beat.  I mean, I catch the vibe, that it's the old dog versus the new dog and all, but I don't see anything in there that is interesting.  This disc can go - no need.

Quick Hits, Vol. 266 (Smashing Pumpkins, The Struts, IDLES, Deftones)

Smashing Pumpkins - CYR.  I try to keep the curse words on here to a minimum, but god fucking dammit.  What is the line from Batman?  "You either die a hero, or you live long enough to see your favorite bands turn into super-shitty synth rock bands and wish you were dead."  This disc is absolutely painful.  There had been a few singles released, and I was hopeful that those were some sort of palate cleanser through which Billy Corgan was going to just get a weird itch scratched by adding drum machines and some Muse-ass background singers to a track, but then the whole album would actually be good.  I was incorrect.  You still get Corgan singing, but otherwise this is entirely unrecognizable as the band I loved in the 90's.  It's like a very shitty off-off-off-off-off-off Broadway production of a Smashing Pumpkins musical that was written by the guy who played synths for Flock of Seagulls, who also secretly hated Smashing Pumpkins, but was able to talk Corgan into starring in the show anyway.  Maybe "Wyttch" is okay - steals a Rob Zombie lick, and still has too much synth and pretty background vocals, but at least the guitar appears present.  Even if the spelling is painful.  And then "Adrennalynne" comes along as a significantly worse song with even worse spelling.  Here is the top streamer so far, the title track of "Cyr," with 2.4 million streams.

Uuuggggghhhhh.  And on top of that, this album is 20 freaking songs long.  An hour and twelve minutes.  WHY IS IT SO LONG?!?!?!?!  If you truly, deeply hate yourself, then get up in here.  Otherwise, just ignore that you knew that this happened.

The Struts - Strange Days.  I was hoping for some of the old magic of their debut album, but this one feels more calculated and less joy-filled and surprising and raw.  Nothing as pure as "Could Have Been Me" or "Put Your Money on Me."  It's still enjoyable - rock and roll with a flamboyant frontman who sounds like a cross between Freddie Mercury and Austin Powers and plenty of heavy guitar licks.  Literally, listen to the intro to "I Hate How Much I Want You," where the lead singer of Def Leppard calls to talk to the lead singer of this band (Luke Spiller), and Spiller channels Austin Powers deeply as he tells the "King of the Leppards" that he has a track that needs his big old pipes "baaayby!"  The resulting song doesn't sound to me as though it is improved in any way by having the Leppard king along for the ride.  On the other hand, the track that has Tom Morello pop by is pretty heavy and I dig it.  The top four songs are those that have collaborators, and they are a weird crew of collaborators - the aforementioned Def Leppard guy, Robbie Williams, Tom Morello, and The Strokes' Albert Hammond, Jr.  The top track is the one with Robbie Williams, which is also the first track on the album (so it likely gets a boost by curious folks who don't listen to the rest of the album after that sample).  "Strange Days" with just over 2 million streams.

Yeah, you know, it's not a bad track or anything, just kind of serious and plodding.  Ain't nobody gonna jump out of their seat to boogie when that track finally comes on.  The guitarist is doing some headbanging in the video near the end, and it's kind of laughable.  It's like headbanging to "We Are the World" or something.  Also, I don't know Robbie Williams, but he's looking like the bald version of George Michael.  It's overall a good album of more boogie rock, just wish it was a little more fun.

IDLES - Ultra Mono.  My goodness, these guys are aggressive.  I saw their show at ACL a year or two ago, and so I knew what to expect.  The lead singer spit at the crowd, stomped so hard on the stage that I likely would have snapped my ankle, and generally appeared ready to eat a flagpole and spit nails.  This one just starts off right up there at 11, fists and lips curled, with the track "War."  The second track tastes more like a NIN track, with some squeaky little sounds, an ominous groove, and syncopated guitar work, before the singer starts laughing like that maniacal televangelist.  Later, when he's screaming the title of "Anxiety," it actually creates that very thing.  But then "Model Village" kinda makes me want to boogie - it's like Devo or something new wave-y, but with yelling.  But I think my favorite track is the highly weird "The Lover," where he repeatedly says "Fuck YOU, I'm a Lover" after all sorts of other phrases, among some crushing noise rock.  And then, the end is pretty much him just yelling "EAT SHIT" over a marching Rage rhythm, before finally asking one more time if it "dadadadadadadadadada don't it taste gooooood?"  I enjoy that. The top track, with 4.5 million streams, is that NIN-ish one I mentioned before.  "Grounds."

Not sure why they needed to open that video with 40 seconds of silence.  Oh, wait!  I thought that the bit after "do you hear that thunder, that's the sound of strength in numbers" was saying "HA HA HA HAAAAAAA!!"  But now that I can ready the lyrics at the bottom, I see that it is him screaming "I AM I."  if you don't know what I am talking about with the nutter televangelist, then watch this:

If that doesn't give you the creeps, then something is seriously wrong with you.  Anyway, I dig that "Grounds" tune.  "A Hymn" is also good stuff.  If they would yell a bit less, the groove hard rock is right up my alley.

Deftones - Ohms.  Speaking of screaming!  This has more of a bummer vibe, less of a danceable vibe, than the IDLES album up above.  The first track crushes your ears with the vibe of an angry, sad person sitting in his truck punching his fists bloody against the roof because his girlfriend left him again.  It get's more pleasing to the ears as you go along - "Urantia" sounds good, but then "This Link is Dead" makes me want to hold my head and avoid sounds for a while.  Also, I know they are screamy - I used to listen to White Pony like every other respectable guy aging out of grunge and looking for the next fix of that same feeling the mid-90's alt rock used to give us.  But this is either harder or I've aged since then, because each time it comes on I feel like I'm getting my ass kicked for an hour before something more pleasant comes along.  The album closer is the top track, with 7.1 million streams, and is also the title song.

After the initial guitar salvo, I like the groove that opens up for the first verse.  And that set of repeating riffs continues throughout to good effect, almost a Zeppelin-esque riff (although because its a Deftone's song, the main riff takes a break for a bit so that the song can have a quiet interlude in the middle that then erupts into a loud freakout, that then goes back into the main theme, because that is what these guys do).  And I like the ending 30 seconds and it's guitarwork.  Holy shit - is he playing an eight string guitar?  It's nine!  Nine strings!  Holy shit!  Solid song though.  If more of the album was like "Urantia" and "Ohms," then I'd be much more likely to dig the whole thing.