Tag Archives: Vagrant

The Hold Steady – Hurricane J

MP3: The Hold Steady – “Hurricane J” from Heaven Is Whenever, out now on Vagrant.

“You’re a beautiful girl and you’re a pretty good waitress.” Craig Finn is still a hell of a storyteller. Dude manages to convey so much in so few words. I’m not willing to go as far as calling his lyrics Hemingwayesque, but his secret is leaving out the most important details and letting the truth fill in the blanks. “Hurricane J” is words of advice from a not entirely altruistic narrator to a pretty young fuckup. “You know I’ll never ask you to change, I’ll only ask you to try.” He may be jaded, but Finn has yet to succumb to cynicism, which allows him to pick up the story where Brian Wilson‘s “Caroline No” left off without sounding like a condescending creep. “You’re too hard already, you’ll only get harder.”

This is the same territory that the Hold Steady has been mining forever, but as long as they manage to pull out gems like this, I hope they continue to keep digging.

Hold Steady: iTunes, Amazon, Insound, wiki, MySpace.

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Black Rebel Motorcycle Club – Conscience Killer

Black Rebel Motorcycle Club - Beat the Devil's TattooMP3: Black Rebel Motorcycle Club – “Conscience Killer” from Beat the Devil’s Tattoo, out now on Vagrant.

This track is somewhat a return to the “Whatever Happened to My Rock and Roll (Punk Song)” vibe that originally attracted us to BRMC in 2001. They’ve gone through a few permutations since then, including a bluesy acoustic phase, which is represented by the title track, the video for which you can watch below…

Black Rebel Motorcycle Club: iTunes, Amazon, Insound, wiki

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The Hold Steady – Boys and Girls in America

The Hold Steady - Boys and Girls in AmericaThe Hold SteadyBoys and Girls in America (Vagrant)

What makes the Hold Steady great is their ability to write heartbreaking songs that tell of wild teen years, substance abuse, and jaded Christianity. Craig Finn hones his prowess as a lyricist in their third and best release, Boys and Girls in America, and in so doing makes the album of the year.

On this album, the Hold Steady improve their take on the “Springsteen” sound with a new maturity. The riffs are better, and overall they sound more musical than they ever have before. And Finn crafts some of his most poignant lyrics yet. Separation Sunday was linked by its stories of lost faith and its tales of characters who partake in youthful extravagance, getting wasted and having fun. But this album, instead of glorifying youth, looks back with remorse. The first verse of the album establishes that theme with a nod to Kerouac: “There are nights when I think that Sal Paradise was right / Boys and girls in America have such a sad time together.”

Finn’s best lyrics take him back to high school, a time he looks back on with sadness. He considers the betrayals of past relationships: “I’ve had kisses that make Judas seem sincere.” On “Massive Nights,” he regrets the nights of partying: “We had some massive highs / we had some crushing lows.”

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The Get Up Kids – Guilt Show

The Get Up KidsGuilt Show (Vagrant)

We’re going back. Way back…to the year…2002.

Do you remember where you were when The Get Up Kids released On a Wire? Neither do I. I did buy it sometime soon after, however, and enjoyed it; surprised at the signs of maturity that (occasionally) cut through the band’s noted triviality. The Kids actually devoted time to textures and arrangements and attempted, at least, a different side of a band always seen as expendable.

Guilt Show, unfortunately, isn’t about remorse over the band’s pre-Wire material. What’s worse, they erase any progress made with their last album and pander once again to mall-punks everywhere. The Get Up Kids offered acceptance with On a Wire that the short-lived explosion of mall-emo was over and the band were ready to move on with the rest of the music world. Two years later, however, isn’t enough time to dig Saves the Day and the rest of the gang up for a retrospective; and what’s more, who fucking cares that The Get Up Kids “infuse their brand of punk with new-wave progressions and a greater emphasis on the keyboard.” This shit doesn’t work.

Particularly offending are “Is There a Way Out” and “Conversation,” the album’s last two tracks. It’s bad enough that the first 11 tracks are of the hardly-passable pop-punk variety. That the last two are “epic” in nature (and trust me, “epic” is used loosely) is laughable.

The Bush administration may be out of work come November. What’s getting lost in the shuffle is that while Bush blew hot air over the literacy rate and insufficient schooling, Dubya failed to rid the 2004 landscape of such an obvious threat to the intelligence of our nation’s children. Avoid Guilt Show like the plague.

Paul Westerberg – Come Feel Me Tremble

Paul WesterbergCome Feel Me Tremble (Vagrant)

One thing Paul Westerberg should understand: repeating a chorus and a guitar lick for 3 minutes does not constitute a song. On Come Feel Me Tremble he does this far too much. Songs like “Hillbilly Junk,” “Soldier Of Misfortune” and “Making Me Go” barely make complete thoughts, let alone a song. Westerberg can usually get away with this, because his skewed viewpoint and spot-on guitar can override the repetitiousness. This time, he doesn’t always make it work. On some tracks, he either didn’t have enough to say or enough music to say it with. Lots of filler.

The irony is that Westerberg’s filler is pretty good stuff, and when he shines he can blow you away. “Knockin’ Em Back” is a standout, whipsaw-rock track and a perfect example of what Westerberg does best. Other strong tracks include the thoughtful “These Days” and “Dirty Diesel,” a Stone-sy blues rocker.

Bottom line? There’s a lot of inconsistency. But Westerberg’s off-kilter approach (and stumbling-but-catching-himself-at-the-last-minute execution) somehow makes it more than the sum of its parts. Even though you might skip a track or two.