More Fun Than A Flaming Planet: My End of The World Blog!

SO listen, since the world is going to end, I don't want to go out on the mostly sour note that was my last Blog entry "More Fun Than A Flaming Yule Log." After reading several of my music geek friends' Year End Top Tens, or 20s, or whatever, I realized that there were, indeed, some records I forgot about that I did buy and did enjoy. There were also a couple bands who released singles or teasers for their new albums this year that I loved but, like a dick, did not include in my year end list. So what follows is my Top Ten best musical releases of 2012.

1) Redd Kross- Researching The Blues LP.
How I forgot about this instant power pop classic is beyond me. Guess I'm going senile. "Stay Away From Downtown" is the song of the goddamn year as far as this lonely cowpoke is concerned. The choppy Riffs, the sweet harmonies, the vague and vaguely familiar lyrics....it's like the innocence of early Lennon and McCartney, covered in '77 era punk rock bile and power pop teeny bop energy. The whole album is a stunner, in fact I'm quite sure it's the bands' best since "Third Eye".

2)Graveyard- "Lights Out" LP
I covered this in my "Yule Log" Blog, so I'm not going to re-iterate. I'll just say if you like the blues, classic hard rock, doom, classic metal or stoner rock...get it.

3)Kurt Baker- "Brand New Beat"
Ditto on this one, covered in the last Blog. I will add that it gets kudos for blatantly ripping off the title of a Gene Vincent song. Because if you're going to rip people off (and you are), then make it blatant and make sure they've been dead since 1972.

4)The Crazy Squeeze- s/t LP
First off, I will state that I do not own this record. I am judging it on the bands' past recordings and the samples I've heard of each song. The fact that this band is a supergroup that features members of the Stitches, Richmond Sluts, and the (godlike) Teenage Frames just seals the deal. Whatever this band does, I like it. It sounds like punk rock and roll with a healthy dose of snotty pop on top, a furious gang bang between the Heartbreakers, the Boys, and Teenage Head. I cannot wait til this bastard sees a U.S. vinyl release, for it shall be mine.

5) Wanda Jackson-"Unfinished Business" LP
I have come to the realization that I don't like Justin Townes earle that much. I really tried, but he just seems like the palest of pale Ryan Adams imitators, with none of his Dad's aching wordplay, slurred swagger, and honesty. He tries too hard, and he's too young yet, and he just ain't doin' it right yet, aside from a couple of good tunes. Why am I talking about him? Well, he had the balls to produce a Wanda Jackson record. It's a real good one. The song choices and feel are spot on, and I needn't mention that Wanda's voice is eternal. Her live performances are sometimes shaky these days, but her last few records have been up there with the best of her ancient 1950s/1960s back catalog. I do her an injustice by whining about her choice of producer. Jack White, producer of last year's "The Party Ain't Over Yet" was a better choice because he had recorded Loretta Lynn and is a massive talent himself. Having said that, "Unfinished Business", I think, is the finer record of the two.

6)Ricky Rat-"Songs In C Major Love" LP
I don't understand the title. I just don't get it. But I never understand anything, so I am not super shocked or anything. Does he love the key of C Major? If so, then why doesn't he marry it? Anyway, you have got to hand it to Ricky Rat. Probably the finest Detroit guitar player (and if you are from Michigan, the land that invented the Gibson Guitar, you are of a special breed to begin with) since Wayne Kramer. As you all should know, he was in thee Trash Brats, a band every hip Michigan kid knew and loved for their cross dressing cross pollination of glam, punk, pop metal and snot back in the 1980s and '90s. Thee Brats were a GREAT band. Ricky's first solo record is also great. While I miss Brian O'Blivion's vocals at times, this disc exhibits the same ramshackle pop punk charm that made Thee Brats such an eternally beloved band. Ricky's voice kinda sounds like Dr. Frank from the Mr. T Experience in spots, which ain't bad. There's also a pretty great cover of Flesh For Lulu's "Time And Space"! All in all, this is a good one in the spirit of Keef and Johnny Thunders' solo stuff. A guitar star stepping out in front of a band with better than fair results.

7)Ghost- "Secular Haze" Leaked Track
Pretty sure this will be the title track of Ghosts' next LP, and it's a creepy, swirly, carnival calliope sounding beast of a thing, with super, super heavy bass and the by now familiar creepily sweet vocals. While this is an official "leak",another new track has leaked via a live version of Abba's "Marionette" (I shitteth you not, people)on You Tube which is frigging awesome. Hope it's on the record. Very much looking forward to it's release in 2013!

8)JD McPherson-"Twinkle Little Christmas Lights" holiday single
This guy just never quits. His album "Signs And Signifiers" was on everyone's year end lists last year, and he's been all over the place since, playing every dive in every town six times on a never ending tour. He's also appeared on every late night talk show from Leno to Conan to Letterman, and blown away mass audiences each time. this cat is gonna be big. This is his first new music since "Signs", and it's a great little sweetly adorable holiday song. Sort of like a drunken Little Richard having his way with "Rockin' Around The Christmas Tree", but better. If you can imagine.

9)Nick Cave And The Bad Seeds- "We No Who UR" Leaked Track
I'm including this mostly because I have super high hopes for the new Nick Cave and the Bad Seeds album "Push The Sky Away". This song itself is weak milk. Kind of reminds me of U2, or some Irish band doing a song for a charity album or something. Lyrics very good, music very bland. Maybe it'll grow on me, but I'm still holding out massive hope for the album!

10)OFF!-"OFF!" LP
Following two years after 2010's "The First Four EPs" collection, this sophomore album finds the punk/alt rock supergroup that is OFF sounding no less pissed off and frantic. 16 songs in just under 16 minutes. Now that is hardcore punk rock. And this is a great album.

Alright, just so you don't call me a grumpy old so and so, that's my year end top ten. Go ahead and cast yer stones that I didn't include whatever 20 something hipster band you're into this week, but I hate the kids. The kids are terrible. It will take amazing things to make me enjoy the kids' music. Even if it's something I should like, like a 10th generation power pop rip off or doom metal band or whatever. I need more than "something I should like". I need something I DO like. Meh. Bah humbug, my blood shit runneth over.

More Fun Than A Flaming Yule Log; My End Of Year Blog

I'm going to be 42 years old in two days. That makes me older than almost everyone who reads this Blog. How do I know? Google stats, bitches. They see you when you're sleeping, they know when you're awake, they know when you've been looking at my blog and touching yourself so stop that. Uh, for goodness sake.

So I was going to write my usual "Ten best records of the year" shit sandwich, but I care not for such ass-clownery at this point. I couldn't find ten new records I liked, really, so I decided to just prattle on about stuff that I did like this year.

Now, forgive me, because it's been a rough year and I could possibly be a bit grumpy. My Mom died this year, I embarked on yet another life changing move to yet another new city (Chicago, land of subway crappers and drive by shootings, not sure if I like that yet), I got a new job that I absolutely hate, have had no time to write or record any new music at all...eh, whatever. You've probably had it rough, too. Nobody's had it rougher than Justin Bieber, who has grown people plotting to kidnap and rape and kill him, all on account of the fact that his music is the equivalent of warm, stuck together gummy bears.

"So what DID you like this year, Chuck Matthews?" I hear you saying out there in the night like a bunch of rude grasshoppers rubbing their hairless leg-stalks together.

As the great Gene Vincent once sang, "Weeellllllllllll....."

NATIONAL TREASURE #1: The GREAT EL VEZ. You may have noticed the photo at the head of this blog post of one very pretty girl, one El Rey De Rock And Roll, and one very drunk guy in a stripey shirt. That's my wife Faith, El Vez "The Mexican Elvis", and me, your humble procrastinating genius. This was taken the other night in Chicago after yet another life affirming X-Mas extravaganza performance by El Vez, his band the Memphis Mariachis and his lovely backup singers, The El Vettes. This man has improved my outlook on life every single time I've seen him play (this was maybe the fifth or sixth time, can't remember). How does he do it? He uses a complex gumbo of political satire, Mexican pride, a mental library of every great song, move, joke, look and sound in rock'n'roll, and of course, the legendary coat tails of Elvis Presley. It's not Xmas until this guy pulls his bag of spangled jumpsuits into town. His show has not changed much in several years (he could probably benefit from including some more recent references musically), but it is the most fun holiday rock and roll show ever. One that doesn't skimp on the jokes, the theatre, or the actual rock and roll.

NATIONAL TREASURE #2: THE GREAT JD McPHERSON. I've been championing this cat since I first heard his record a few years back. Those of you who actually read and pay attention to my rantings here (and Google stats tells me that there's several thousand of you drooling internet weirdos) know that his disc "Signs And Signifiers" was my fave record of the year 2011. His combo of Little Richard/Larry Williams style vocals, jumpin' blues and rockabilly and "aw, shucks ma'am" nice guy-ness has been blowing people away all over the country while he and his band tour their many asses off playing every dive in the nation six times a year. This has all worked out very well for him, as he is now getting rave reviews from national big wigs like Rolling Stone Magazine, and appearing on every talk show in TV land (Leno, Conan, Letterman). JD and his amazing Chicago based band (who don't have a name, and probably should...) are an inspiration. His record, "Signs And Signifiers" is a couple years old now, but it never gets old for me.

GRAVEYARD: "Lights Out"
Everybody knows I'm a big fan of everything from the golden age (you'd call it "retro"), but most of you may not know that for me that includes not only the 50s and 60s, but the 70s as well. Graveyard are a Swedish rock and roll band that combines the best of obscure 1970s occult rock with howlin' blues riffs, a very bleak lyrical outlook and a singer that can shriek and howl like a wide eyed, straining, male Janis Joplin. alot of people say he sounds like Soundgarden's Chris Cornell but I don't give a crap about that. "Lights Out" is their new record and it's amazing. It rocks, it rolls, it's a bit of a downer, but in a great way. It's kind of like listening to Black Sabbath in Jimmy Page's recently renovated 1,000 year old castle in the bleakest of Swedish winter time forests while high on the pot drugs. You like that, don't you?

COCK GREASE POMADE:

I first saw advertising for this stuff on the walls of a bathroom in Austin, Texas at the Continental Club while I was taking a hurried pee-break in the middle of an awesome honky tonk set from Junior Brown. There were stickers that said "Cock Grease" on the walls and mirrors, and being the modest sort of old fashioned fella that I am, my cheeks sort of reddened in slight embarrassment. Then I laughed, then I peed. Then I went on with my life. Later I realized that Cock Grease was indeed a brand of pomade, and having spotted some in Chicago's "BROKEN CHERRY" shop, I bought a tin of it. My verdict? It's the stiffest pomade I've ever tried, in fact a little too stiff if you use the amount you'd normally use of another brand. If firm hold is your thing, look no further. And also, it smells AMAZING. Like honey and sugar cookies and candle wax. Mmmmm. Screw putting it in my hair, I'm going to put it on toast and eat it.

DOCUMENTARY OF THE YEAR:

"Color Me Obsessed: A Film About The Replacements"
This is a long awaited fan made doc about one of the greatest rock and roll bands of all time. Minneapolis power pop/rock/punk/alternative band the Replacements have influenced pretty much everyone who picked up a guitar since their reign as indie rock kings in the late 80s and very early 90s. This documentary features 1)No Replacements music 2) No Replacements live footage and 3)No interviews with actual band members. Despite that, it does have a lot of famous faces and many hilarious and awe inspiring stories. After watching it, you'll want to listen to their music, though, or better yet, just play one of their records while the DVD is playing. Essential.

DIG THE BRAND NEW BREED: Kurt Baker's new record "Brand New Beat" on Jolly Ronnie Records is a modern day revisionist history of power pop that favors the populist (Rick Springfield, Butch Walker, The Knack) as well as the cult (Big Star, Paul Collins, The Jags) sides of the genre. A new classic and you heard that here first.

That's my year end wrap up. I can't think of anything else right now that I actually liked this year. There are a few things I could mention like LAURIES PLANET OF SOUND RECORD STORE in Lincoln Square, Chicago. They're my new fave record store in my new fave neighborhood in Chi-town.

Let's kiss this year goodbye as it shimmies it's rotten stinking way out the door, and hope the next year is better, shall we? Toodles, kids.

What This Year Has Done To Us All: The Best Records of 2011.

Howdy cowpokes. So this has been one crazy year, eh? Eh? Political turmoil, economic despair, personal upheaval, this year had the whole plate of nachos with the guacamole and everything.

As for me, I moved back to Michigan (Ann Arbor/Ypsi) from Boston and that is going to have to be a whole other blog, because I have alot to say about that. Huge changes for me. As always, music mattered. It's the one constant in my life, and if you're reading this, maybe yours, too. I don't "have" religion, so I need a belief system. I betchya by golly wow that music is that system o' belief. And unlike Christianity, you can dance to it.

Here are my picks for the best ten albums I heard this year. I like alot of genres. I follow alot of different scenes and movements. I can tell you that while everything good is wholly underground these days, there are alot of great songs being written and alot of great music being made. I consider myself a Rock And Roll fan. And to me that encompasses Rockabilly, Blues, Soul, Metal, Country, Punk, Garage...anything fun and soulful, anything that sounds good loud. Anything with guitars, that is, as you will not find me listening to rap or techno or most modern pop music. Let us not dawdle any longer in the lobby of awesomeness. Let's walk right in the main entrance, shall we?

10) Wanda Jackson-The Party Ain't Over
Hometown hero Jack White did quite a number on Loretta Lynn's career a few years back, making her "relevant" again with a modern sounding album of country/rockabilly nuggets that went down smooth and nutritious, like a hot bean burrito on a winter's day. Pretty much the same deal with my fave female rockabilly singer, the one and only Wanda Jackson. In her mid 70s, Wanda is still full of life and rock'n'roll kicks, with a mega dose of country soul slathered on top. I've seen her live a few times in the last couple of years and she has always been a good time. Elvis thought so, too, back in the 50s when the two briefly dated. Jack White's energy and inventiveness is a present force on this record, but he doesn't step all over the main instrument here which is Wanda's growling hellkitten of a voice. She hasn't lost a single iota of firepower and man, I likes me some of that. It's a fun album, and if you like rockabilly and country sounds, you should own it.

9)Burzum- "Fallen"
You know, I almost put Amon Amarth's "Surtur Rising" on here instead. Because although this new Burzum release is a better album and way more interesting, Amon Amarth are sort of less challenging politically. An album made by mead swilling viking metalheads is sort of easier to wrap one's head around than an album made by a known racist and convicted murderer. These are the times we live in , folks. I probably don't have to tell you that Varg Vikernes, who is Burzum and plays every instrument on all Burzum records (for the most part), was convicted of burning churches in his home country of Norway as well as killing his former bandmate and modern Black Metal mastermind Euronymous back in the 90s. His politics have always leaned heavily to the right. Having said that, his music is often compelling and bordering on genius. This is Burzums' second release since Varg's release from prison (the Norwgian criminal system is, uh, very lenient), and while it is typically dense and challenging, it's much less so than any other Burzum album, and there are even moments of, dare I say it? Commercialization. Apparently this album was very influenced by the early recordings of the Cure, and despite being a metal album, this is obvious right away. There is a very attractive melancholy beauty here, despite the harshness of Varg's vocals and the tinny screech of his guitars. This album is perfect for walking or driving around on a quiet, overcast day, much like alot of 80s British Goth Rock. Don't get me wrong, it's still metal. The guitars are loud and staccato and the vocals are growled and screeched. But it's still kind of, well...pretty. Varg has even toned down his vaugely right wing lyrics for this album, in fact you'd be hard pressed to find one right wing statement. Whether this is a result of a rethinking of policy or just an attempt to sell more records, I don't know. I'm going to say I doubt it's a rethinking of policy. Either way, this is definitely Burzum's best album, and while I disagree with Varg's politics completely, I really, really like this album. If you can get past Varg's past, you'll probably dig it too.

8)Mayer Hawthorne- "How Do You Do"
Another Ann Arbor/Detroit homeboy, Mayer is sort of the smooth, Motown style equivalent to Boston's rowdy faux-Stax style soul shouter Eli "Paperboy" Reed. Reed gets into serious gutbucket territory ala southern 60s soul sounds, while Mayer sticks to smooth, shimmering, Motown style sophistication. This is a great album, not just because Snoop Dogg guests on it and does not rap but actually SINGS. It's a great album because Mayer is a true soul disciple and plays it close to home with a much needed modern day recycling of those classic all but forgotten 60s Motown sounds. People say he's a poser, but the proof is in the soul pudding. And this album, while never making you forget how great Motown was, is some pretty tasty soul pudding.

7)Graveyard- Hisingen Blues
Long hair, western shirts, bellbottoms, stoned-slack facial expressions, vintage guitars, and some of the most depressive, angry, sullen, haunted lyrics this side of the first Black Sabbath album? Sign me right the fuck up, Graveyard from Sweden! This record writhes and punches like the best 60s stoner rock/metal, but it does so with such an undercurrent of misery and paranoia that it actually out-glooms alot of the more obviously gloomy stuff from back then, and adds a thoroughly modern punky urgency to boot. And lest I forget, the songwriting is flawless. If you wish Soundgarden had brains, you'll like this album. If you wish Black Sabbath had better breath, you'll dig this swingin' platter. If you wish Pentagram had bothered to write songs while getting stoned before the recording session, this is the album for you.

6)Chris Isaak- Beyond The Sun
I've been a fan of Chris Isaak's gloomy sullen rockabilly-pop for years now. I've seen him live twice and actually met the man himself randomly wandering around Boston one summer day. Nice fella. Chris has always been an obvious rockabilly/country nut (I mean, look at his hair, man), and this double album of covers recorded at the famed Sun Studios in Memphis finally puts proof to that well known assumption. Covers of Elvis, Jerry Lee, Roy Orbison, Johnny Cash, etc etc are all given a modern sheen that amps up the game a bit. The world famous Sun Records slapback echo/delay is served in heaping helpings here, and Chris' amazing voice warmly glides through the songs in a natural way that few modern rockabilly singers could manage. The one slightly less shining moment is the Chris Isaak original that, while not a terrible song, does not sit well with the classic, timeless greatness of the covers. Ignore that, and you have one stomping, greasy hellfire of a party album. Simply sublime.

5)In Solitude- The World. The Flesh. The Devil.
Sweden's In Solitude bring me back to my pimply adolescent metal head days, both looking and sounding like the coolest NWOBHM band that never happened. A great occult/black metal/punk image, really solid, catchy ass songwriting and a huge King Diamond influence really seal the deal for me. I love, love, love this record. See my earlier piece on the band in my post "You Too Can Have The Stamina Of The Cavemen".

4)The Smoking Popes- This Is Only A Test
I've loved these Chicago pop punk legends ever since they opened for Morrissey on his 1993 "Your Arsenal" tour. The big hype then was that the Popes sounded like Morrissey singing for the Ramones, and that's still somewhat true, but as they've evolved as a band, they've become more sophisticated musically. The big criticism of their recent records is that they've started sounding like all the emo-pop-punk bands that they influenced. Not sure if that's true, because I don't listen to that kind of garbage juice. I do know that alot of bands like Dashboard Confessional or whoever have turned a love for the Popes' melancholy love lorn pop punk into a maudlin mock rock mope fest. But that's not the Popes' fault. This record could have been a huge joke, as it's...yes... a "concept" record, sung from the perspective of a high school kid. Yeah, that IS sort of lame, and it would have fallen flat without the glorious pop songwriting of the Caterer clan (three fourths of this band are related to each other by blood). The songs are GREAT, especially the exuberant "Punk Band", the story of a youngster finally finding some joy in the world as the singer of a high school punk band going on tour in a van. Uh, it's way better than it sounds.

3)Beady Eye- Different Gear, Still Speeding
I'm a huge Oasis fan and I don't care who knows it. The very British loud guitar pop of the Gallagher Bros will always have a special place in my blackened, stinking heart valves. They updated the British Invasion sounds of the 60s and became sort of a 90s version of the Who or Small Faces. NOT, as they'd prefer, a 90s version of the Beatles, but pretty good job nonetheless. This is Oasis' first album without their main songwriter, the elder Gallagher brother Noel. Noel is solely responsible for not only virtually every classic Oasis tune, but virtually every shitty Oasis tune as well. So the big question was could the lads pull it off without their songwriter? Answer is...pretty much. These songs sound very much like a punkier, faster Oasis. Liam Gallagher's snotty Johnny Rotten meets Johnny Lennon voice does tend to grate after awhile, without the warmer tones of his brother's voice to balance it out. Still, extremely derivative but awesome songs like "The Roller" and "Beatles And Stones" are loud, fun, and catchy as hell, with a really great vintage guitar buzz throughout. It's no "Definitely Maybe", but this album is definitely not the pile of shite some people hoped it would be.

2)Michael Monroe-Sensory Overdrive
As a sensitive, tiny, small town metal head I gravitated towards the glam-flash and rockin' power pop'n'roll tunes of mighty Finnish band Hanoi Rocks. They were my favorite band for years and years, and I wore out the grooves on every album they ever made several times. When I started listening to Hanoi, I realized that Motley Crue and Ratt probably weren't as great as I initially thought, and started on the road to learning about punk rock and classic rebel rock'n'roll. I have Hanoi to thank for alot of the music I got into. They changed my life and opened up new worlds to me. They were a truly great, great band. The post-Hanoi bands and projects of many of it's members were not always so great. Andy McCoy in particular kind of became a terminal let down. Michael Monroe, the singer who unfortunately inspired both Vince Neil and Axl Rose, fared better. Most of Mike's albums and projects throughout the years, with the exception of the truly horrible Jerusalem Slim, have ranged from the pretty good to the truly great. His last perfect album was under the band moniker Demolition 23, way back in the 90s. Until now. Drafting the songwriting talents of Ginger Wildheart (of the Wildhearts, another highly influential but largely unsung band)was the first brilliant move on Monroe's part. Getting two fifths of the revamped New York Dolls in the band was the second (including Mike's old Hanoi Rocks bassist the effervescent Sami Yaffa, now in the modern version of the reformed Dolls). The live shows of this line up are already legendary, and the album is close to perfect. A roaring riff monster of a hard rock record,this thing channels the Stooges, Alice Cooper, AC/DC, The Wildhearts, Dead Boys,and the UK Subs in only the finest ways. It is high voltage riff-punk of the highest order. The one song that lets up the pummel-age is the country-rock tinged "Gone Baby Gone" which, while not a bad song at all, sort of unwittingly rips off the Eagles rather than paying tribute to Gram Parsons,as any country rock tune should. The lyrical content of alot of these songs seems to deal with being an older rocker in a young hipster's world. Drug problems, aging, bad relationships,dead heroes, survival. It's pretty life affirming for an old rocker like me and likely an education for any young wannabe glam-punksters out there. An amazing return to form and a great rock album this is. "Chart the course we're on, flog that dying swan, aim that poison dart towards the center of your heart", indeed.

1)JD McPherson- "Signs And Signifiers"
I had no idea at all who this guy was six months ago, and now his new record is numero uno on my year end hit parade. JD is an Oklahoma born and based rockabilly cat best known for his previous band the Starkweather Boys. He hooked up with Chicago based rockabilly bassist Jimmy Sutton, who happened to own and run his own retro rockin' label, Hi Style Records. Add a few permutations of fate, some other rock'n'roll hoodoo and various jump blues calamities, and you have this album. It is a rocking, moody, fearsome, jumpin', jivin' and wailin' monster. The first thing that jumps out at you is this kid's voice, which sounds like it's coming out of a 300 pound black guy from the '40s, not a little white rockabilly geek. The second is the songwriting, which apes and reinvigorates 40s and 50s jump blues in a similar way to the way Eli Reed apes and reinvigorates 60s soul. You can sort of tell it's not the real thing if you have a trained ear, but even then, it really could be the good, old righteous stuff. Songs like the title track and " A Gentle Awakening" take JD's music out of the retro ghetto into something much more modern and relevant, while still retaining the vintage tone and feel. This guy would make an awesome duet partner for PJ Harvey, and I'd love to hear him tackle a Nick Cave song. Like pretty much all modern rockabilly cats, he cites punk rock as an early formative influence, as well as some English post punk. You can't hear this in his music, but you can feel it. I can't do justice to how great this record is in words, but maybe this'll help....




There you have my picks for the best of this past year. Anything else I need to check out?