Quick Reviews of Music I’ve Chewed Through Recently
A lot of classic bands and their recordings that I really knew nothing about, and my valiant effort to try and rectify that.


Talking Heads: 77
I was attracted to the Heads’ music because of their place in the lexicons of rock ‘n roll. I kept running into their names and images during a casual flip-through of any “history of” book that I might find on a shelf.
So I get a hold of a copy of 77, which I didn’t purchase, thankfully, and I have to say, I just don’t think this is my bag, baby.
As I often tell myself, “as important as knowing what you like, is knowing what you don’t.”
I think I can safely say that I don’t find the music of the Talking Heads all that appealing. So this isn’t so much a review of the album as it is an impression of their music all together. Sorry Talking Heads…
Grade of all things Head Talking: D


Black Sabbath: Paranoid
Discovering the classics is so much fun.
For those of you who read my luke-warm review of Wolfmother a few days ago, we all have this album to blame. Had I encountered Wolfmother a week before I discovered Sabbath, Wolfie might’ve been spared its C+ songwriting.
From the authoritative and extensive search I did to find the greatest Sabbath album I was lead to Paranoid, which was the first release by the band with a younger, more entertaining Ozzy Osbourne on lead vocals. Guitarist Tommy Iommi created some of rock’s most memorable and inextinguishable riffs on this album, and he did it with only two actual working fingers.
The story behind Sabbath’s sound is really a fun one to tell, but its too long for this moment, so if we ever get really bored on this blog, perhaps I’ll endulge you all…
As with any study, its important to know your historical timeline, so that the beginnings and endings of things can be traced.
Knowing that Sabbath was the first in so many musical styles and tastes really makes you appreciate their altering of musical taste all the more. So many bands owe their sonic palette to Black Sabbath, its amazing.
Aside from their inventive stylings, the thing that stands out was how quickly they mastered their new-found toys. These songs are really fun to listen to and despite an obviously limited style, their songs never get old.
Grade: A+


The Yardbirds: Roger the Engineer
More classics…
I mostly picked this one out because it’s the Yardbirds. Another band that has its place held in history for them. If for no other reason, than certainly to be known as the starting place for the likes of Eric Clapton and Jeff Beck
Of course this record has their hit Over, Under, Sideways, Down, but what I found myself listening to the most was the stylings of guitarist Jeff Beck on songs like Jeff’s Boogie and the Nazz are Blue which really showed off the young guitarist’s ability, and ultimately foreshadow music’s departure from the Beatles formula of song-writing.
Entertaining, yet does not engage you song-for-song the way even an early Beatles album still can.
Grade: B-


Jamiroquai: Emergency on Planet Earth
Hands-down the best name of any band I’ve listened to recently. (Pronounced Jam-ear-o-kwai)
Known for back-to-the-roots funk stylings, Jamiroquai has been turning out dance hall hits for quite a while now. This album, released in the earlier ninties is perhaps one of the better samplings of Jamiroquai’s talents and abilities. Even jogging to this music made me step a little bit faster and higher. Reminiscent of the by-gone days of the discotheque, Jamiroquai has perfected a recipe for funked-out disco that combins the Bee Gees with James Brown. Not a bad idea. . .
Grade: B


Motion Picture Soundtrack: The Life Aquatic
A musical supervisor has one of the most overlooked yet influential roles in a movie’s construction. Pick the right tunes, and a simple scene of dialogue can have unexpected tensions or emotions that would otherwise never be explored.
Wes Anderson’s Causteau-esque comedy about washed-up and washed-out oceanographic explorers features some of the most unique music I’ve heard in a while. What attracted my ear most was the tracks contributed by Mark Mothersbaugh, who wrote all original tracks for this film. Mostly of narrative nature, his tracks have titles like “Let Me Tell You About My Boat” or “We Call Them Pirates Out Here” and are used in specific moments throughout the film. His signature use of electronic sounds used with great restraint and control makes his music feel very controlled and tense, even though they are tremendously fun to listen to. Round out the soundtrack with several selections from Seu Jorge, a French singer who covers only David Bowie sung in French, and you have a zany collection of familiar and not-so to accompany perhaps Anderson’s best film.
Grade: A

T. out...