Sad Bastard Music

So I've been really conflicted about the most recent My Bloody Valentine album, mbv.  For those of you that don't know My Bloody Valentine I'll give you this very brief overview.
Basically My Bloody Valentine is an amazing shoegaze (coolest genre name or lamest? start the debate) band that released an album that has gradually over the years become an inclusion of every top albums of all time list.  The list of bands that have listed it as an influence are endless (oddly enough I can only think of one band right now).  The album was called Loveless and it took forever to make and everyone was ready to hear the follow up.  Well the follow up took like 17 years to make and was constantly rumored to be coming out but then wouldn't.  There were rumors about it's sound and how long it was,blah blah.  It's the Chinese Democracy for it's genre.
Got it?  Okay.   Let's move along.
So finally the new My Bloody Valentine album comes out and everyone loves it.  10 years ago I would have bought the day it came out.  I think I waited a few days but I eventually downloaded it and got excited to hear.  Not balls to the wall excited but like, hey, this will be fun to listen to on my commute to work tomorrow.  So yeah, I listened to it and it sounded like My Bloody Valentine and the obvious follow up to Loveless.  I think I've listened to it like twice since then.  That was like 8 months ago.
So why the hell didn't I like it?
Here's all I can come up with as an answer.  My Bloody Valentine does not make music that I would describe as uplifting.  I used to love sad songs.  Depressing gut wrenching songs.  Or mellow songs that just sound depressing.  When you're young life is pretty easy.  Odds are you're still living off your parents in some way and the only thing you're worried about is why some girl/dude isn't returning your phone calls or you have no messages on your answering machine (I don't think anyone young reads this but if so, replace phone calls with text messages and answering machine with facebook or twitter or snapchat, snapshot, whatever the hell you do now to send pictures of your johnson to each other).  Life was easy so we had to latch on to something we thought was sad and blow it waaay out of proportion and then wallow in the misery of whatever we felt was the end of the world, which was most likely one of the things listed above (unanswered phone calls, texts, penis shots).  I think being depressed made us feel like we were more mysterious or gave us more depth.  Listening to some slow sad melody really helped make you feel even more miserable.  Or maybe I was just a really needy bastard.
Then you start getting older and shit starts getting real.  Like you don't need a song to make you depressed.  Once you're in the real world and no longer relying on your parents teat anymore to bail your ass out there's plenty of shit to make you depressed.  Like how you spent 6 years in college only to be working a job where you routinely unclog a urinal filled with piss.  This glamourous job doesn't pay dick so you have to buy a giant pizza at Dominicks for $5 and live off of it for the next 4 days.  Oh and that girl still hasn't responded to that picture of your dick you sent her 3 days ago (just trying to relate here).
Or there are wars. Taxes.  Getting older and realizing the window of opportunity for you to become a professional wrestler has passed.  Getting checked for things on a regular basis that might kill you that involve another man sticking his finger in parts of your body you don't touch yourself.  I routinely spend some minute or two of my day pissed off at something at work (maybe it's something I'm working on, or a person, or maybe I'm just pissed someone didn't refill the coffee. )  So forgive me if when I listen to music I don't want to hear Kevin Shields make some fucking guitar feedback for 6 minutes.  I'm in a bad mood I want to listen something I can tap my fucking foot to.
Now, I'm not saying my life sucks.  Far from it in fact.  I have a great life.  I've got a smokin hot wife who's cool as shit.  I've got a giant fluffy dog that sounds like an actual person when he burps (which is often) and a cat that literally shoved me out of the way when I went to pick up a piece of pizza I dropped.  I have a roof over my head and get to eat delicious food and travel to cool places on a pretty regular basis.  I've got a job that doesn't involve me cleaning up bodily fluids.  I'm happy and love life.  But there's a lot of everyday shit out there that tries to derail that happiness so I don't need a song to bum me out.
I don't know if this is making any sense but it's the only thing I can come up with to explain why music I loved 18 years ago doesn't have the same impact or why the hell I went to a Kid Rock concert 2 years ago.
But now I'm thinking about this.  I've developed a love for slow sad country songs over the years.  Why do I like those?  They're even more depressing.
I've totally blown my whole theory to shit.
Son of a bitch.

There's a Riot Goin On

So lets just tackle the 800 pound gorilla in the room and point out I totally failed at posting album reviews all summer along about new bands and albums.  Thanks for pointing out my failures guys but I really think that it's not me being lazy as much as current music being pretty weak right now. 
Moving along, since I'm no longer on the cutting edge of whats been deemed cool by Pitchfork and I'd rather take a job as Anthony Weiner's PR manager (still pissed I didn't think of the nickname Carlos Danger first) than see Mumford and Sons, I was clueless about the bands dominating most music festivals this summer. 
Except one.
Riot Fest.
Riot Fest is for people that still like music that makes you want to pump your fist and maybe shotgun the occasional beer on a Sunday afternoon. Basically there are a ton of punk bands, rock bands and Public Enemy.  Oh, did I mention the Replacements are playing as well?  Talk about a bitchslap to the Pitchfork headliners. Essentially Riot Fest is for teenagers and people 32 and up that are stuck in a perpetual state of arrested development when it comes to music.    
Thank you Riot Fest for creating a festival made up of bands I know and have wanted to see and some new ones I've actually  heard of and have been meaning to check out. Also thank you for selling some beer that isn't a summer double hops extra pale ale or some shit like that.  No human can consume that consistently for a 3 day festival. If you can you may very well be a sociopath.
Oh, they also have a wrestling ring.
So lets recap.
Rock bands? Check
Mumford and Sons? Nope
Cheap beer? Check
Wrestling? Check
Sounds like a little slice of heaven to me.  Here are my must sees this weekend:
The Replacements
The Lawrence Arms
Screeching Weasel
Guided by Voices
Rancid
Danzig
The Broadways
Rocket from the Crypt
Off with their Heads
The Lillingtons
Masked Intruder
Against Me!
There are many more I want to see but I'll be impressed if I pull off seeing all of the above before falling asleep under a tree/bench/lean to. Rock on everyone.

3 Reviews, 1 Coetime

Way to go C.O.E., this renaissance for you blog ended after a handful of posts.  Hey, it was a holiday weekend and I've been busy. Back off.  Actually, it's not because I'm busy that I haven't written anything, it's because nothing I've listened to has really inspired me to write something clever.
However, I promised reviews so I'm going to write something quick.  Might not be funny.  Might be full of grammatical and factual errors.  With luck, I'll have avoided using words that I was unaware are actually quite offensive.  It's kind of like Fox News.
Oh and by new, I should say these came out sometime since January so "new" is up for interpretation...
So first up is the new Wavves album "Afraid of Heights".  It's good and I like it.  The song "Afraid of Heights" and "Demon to Lean on" are the best tracks in my opinion.  I've never listened to this band before for no other reason than I kept forgetting to check them out when I was looking for new music.  Sounds like these guys are a lot younger than me, wear backpacks with things written on them in black marker, and listened to a ton of Nirvana demos.  Nothing wrong with that.  I did that too...20 years ago.  But for real, the album is cool.  Those two tracks stand out and are actually really, really, good.  The rest of the album hasn't quite grabbed me but that doesn't mean it won't.  Check it out if you can.
Also check out Phosphorescent "Muchacho".  It's really good too.  It's got that folksy sound but instead of folk music inspired by hippies it sounds inspired by metalheads or something.  Like it sounds like you might want to smoke angel dust at an outdoor festival and lay in the grass and listen (authors note: I've never smoke angel dust so maybe I'm way off here but I'm writing fast and thats how it came out).  The second track is so good it's hard to move onto the next song.  I keep wanting to hear it again.
Third, ummm, okay I guess I haven't tried that hard.  I could throw in the newest Alkaline Trio album that came out a few months back.  Those guys can't catch a break.  They get shit talk from both fans and people that hate them.  And the people that hate them probably have at least 3 of their records. Their a band that made an awesome first album (might be in my top 20 of all time) and now must forever live in it's shadow.  For those not familiar, their first album "Goddammit" is  a straight up punk album about being young, drunk and not talking to the girl you've been wanting to, and being depressed by both.  Well, these guys are now closer to 40 than 18 so if they still sang about that they'd be A.) alcoholics B.) kind of pathetic or C.) the Lawrence Arms (no disrespect, I love the Lawrence Arms and can't wait for the new album).  Anyway, the last 2 albums have been them trying to get their old sound.  On the new one "My Shame is True" they do a pretty solid job.  If you like the Alkaline Trio go buy it.  If you don't, buy it because you'll probably like it anyway but never want to admit it.
Thats it for now people.  Keep it real and have a good Thursday.

Vampire Weekend: Modern Vampires of the City

This week we're going to tackle the new Vampire Weekend album Modern Vampires of the City. Of course by tackle I mean praise but mock ruthlessly at the same time.
Shall we?
Okay so first thing is first. This is the most misleading title and album cover ever. Ever.  If you're going to name your album Modern Vampires of the City and have some creepy black and white and foggy picture of the city, the album should sound like the main songwriter picked up a nasty absinthe habit in the last year and has been carrying a tattered copy of Junky by Burroughs in his back pocket. Granted I've never read the book and the only time I tried absinthe I was so drunk it may have actually been peppermint schnapps but this album sounds like he had parents that played a lot of world music and Graceland by Paul Simon.
I do like this album though. It's way better than that last thing they put out. The one where the first song was about horchata. Thats the most unrock song you could write.  Songs like that make me dislike New York.
They do a couple of pretty stupid things on this one though. The main one being the song where he does this spoken word thing where he talks about falafel. Yes, I'm totally serious. Okay, listen up Vampire Weekend. There is a strict rule about doing a spoken word bit in a song. It must be an excerpt from either the Satanic Bible or a passage from the Bible that talks about the devil and/or the end of the world.  Also the voice must sound like it's Satan or Johnny Cash.  I'm not sure how to describe the voice on the Vampire Weekend song though.  Douche bag?  Basically he sounds like the kind of guy that would recommend a vegan restaurant when you're going to a city known for a meat product. Let me explain:
Me: I'm going to Milwaukee this weekend. Know where I should eat?
Vampire Weekend: Yeah! There's this vegan cafe you gotta check out.
Me: *blinks* (slaps Vampire Weekend in the face, drives to Milwaukee, eats bratwurst after a tour at the Miller Brewery. Stops at the Brat Stop in Kenosha on the way back home).
Get what I'm sayin'?
BUT...the album is good.  In fact, friends of mine that made fun of me for liking the first album now talk about how amazing this one is (I'm not going to say this is irony because usually whenever I say something is ironic I'm using the word incorrectly and I'm sure this is probably the case here).  People will say it's more "mature" and it is.  They've evolved as musicians and songwriters and the overall production makes it a more elaborate album.  The second album failed because it was boring (and had songs about Mexican dairy drinks) but this album is not boring.  Yes, it's irritating but thats because I judge them based on a stereotype that most would say is unfounded (but it's not really) about the city these knuckleheads come from. I still like the album.  I just shake my head at some of the lyrics.  Also in all fairness,  I say the album sounds nothing like the title or cover suggests; the last 2 songs actually do sound what I would have thought the whole album sounds like.  Also there is a track that sounds like a Smashing Pumpkins bside from the Mellon Collie or Adore days.  So I guess thats a third song that lives up to the album title.
Anyway, I like this album.  I like Vampire Weekend (I even played a game of pool with them once.  Well, I played the drummer and the bass player...okay I sat next to the pool table they were playing at...I think I told them I liked their album).  And I actually like New York.  Chicago is better of course but New York is a solid little town.
Vampire Weekend is from New York right?  If not, I need to fire my fact checker.

The Palma Violets 180: Having an Organ Player Doesn't Mean You Sound Like the Doors. This is a Good Thing.

So we’re going to kick off this review series I've promised you all with something we all love and that is a band from the U.K.

I had read a review of this new band the Palma Violets and their debut album 180 (this is where some smartass will point out the fact they’re not new and the album came out last year or something in the U.K.. It’s new here buddy, and as you can tell by the delays in this blog, time is not something I have a lot of these days so scouring the British music scene isn’t at the top of my list) and the couple of tracks I heard sounded pretty solid so I picked it up.
At first, I wasn’t impressed.  It’s basically what you’ve come to expect from indie music (is that term really applicable these days?  Does it exist?) which is a low fi, garage rock sound.  Heard it.  Been there, done that. Right?  Well, I continued to listen to it and the more and more I did, the more and more I liked it.  Actually that’s an understatement.  I rocked the hell out of this album.  There are a couple of duds in the middle but even those have grown on me (they’ve got this stupid song called Chicken Dippers.  I don’t know if I don’t like the song or if I just hate the title.  Horrible).  But the album starts really strong with an opener that is a great bar sing along type of song, followed by 2 more really good tracks that will get even the guy that doesn’t drink to pick up an air guitar.  The last 3 songs do a great job of closing the album (this is something we might be losing with the invent of itunes and demise of the record.  The closing track of an album.  Love that shit).  Also, with the new music I’ve been buying I’ve done it all on LP. This album sounds much different on LP versus MP3.  Don’t just listen to it on your iPod, throw it on the turn table and crank it to 11.  The drums and bass sound like they might be in the next room.
So this sound I described earliar of low fi, garage rock got popular over here with the Strokes 12 years ago or so and over in the U.K. got popular with the Libertines.  Because it’s such a simple sound it’s very easy to sound like one of those 2 bands depending on your accent and get kind of boring after a while.  Hence why nobody listens to the Strokes anymore (including the Strokes themselves) and why the Libertines broke up (it’s worth noting that a signifgant amount of crack may have played a role in the latter).  But the Palma Violets have found a way to make the album sound different from what we’ve (I) come to expect and I think it’s mainly due to the vocals.  I think they somehow make it so it balances the right amount of sloppy, chaotic, trainwreck sound that makes rock fun but gives it something more solid or pretty.  Does that make sense?
Okay lets try this.  One of the reviews said this: “Violets play proudly sloppy rock‘n’roll that unapologetically draws from the most obvious sources imaginable for a young band from London: the Clash, the Velvets, the Doors, a little Springsteen, Oasis’ Definitely Maybe, Clinic’s Internal Wrangler, the first couple of Libertines singles.”  This came from Pitchfork, which tends to be one of my main sources for new music and the bane of my existence at the same time.  This is wrong.  Wrong, wrong, wrong. Fucking wrong.  Where the hell does this album sound like anything from Definitely Maybe? I love Oasis as much as the next guy.  Actually, no that’s wrong.  I probably love Oasis more that any guy in a 20 block radius of my home and love bands that sound like Oasis.  Palma Violets sound nothing like Oasis.  We’re they influenced.  Of course they were.  They’re fucking British!  Any person from England born in the last 30 years has been influenced by Oasis.  Wonderwall is like the unofficial national anthem over there.  But they don’t sound like Oasis.  And the Doors?  The fucking Doors?  Why because they have an organ player?  So basically if Prince Harry put out an album of church music strictly played on the organ, Pitchfork would give it a 5 and say it sounds like Oasis meets the Doors.  The Palma Violets sound nothing like the Doors.  You know why?  Because the Doors are horrible and the Palma Violets are not.  You don’t just throw comparisons to the Doors around okay?  You only save that for when a band is truly shitty and you want to warn someone.
Okay, lets circle back to what I was trying to point out before before I went off track (see above (sloppy, chaotic, fun, vocals, blah blah).  Here’s an accurate description of the Palma Violets album 180.  Imagine if Iggy Pop and Ian Curtis from Joy Division somehow figured out a way to have a baby together and it was a boy (this would be impressive on many levels).  Lets say this boy then somehow figured out a way to become the lead singer of either Luna or Yo La Tengo.  Then you would have the Palma Violets 180.
See that’s all you had to say Pitchfork.
Check it out.  It’s good shit and I think they’re at Lollapalooza this year so you’ve got no excuse not to see them.  Unless of course you’re like me and not going to Lollapalooza.  Then you have a valid excuse.  

Ass, Gas or Grass Nobody Rides Free

For the last few years I've been listening mainly to country music from the 50's, 60's and 70's, Bad Company and punk bands from the 90's I used to listen to in high school.  This has resulted in me not knowing a damn thing about any music out right now and an unhealthy consumption of PBR.  Both of which end with me sounding like a complete idiot when I'm in a social gathering.
So I made an conscious effort to read some reviews and seek out some new music.  Some are bands I had never heard of and some are new albums by bands I've listened to in the past.  In turn I will churn out some of my own reviews over the next few weeks that will be filled with what you've come to expect from Coetime at the Apollo.  Witty commentary that makes you go " Wow, that was enlightening and entertaining.  I can tell this guy genuinely cares about this crap."  or "I hate this guy.  Thats 5 minutes of my life I'll never get back."  Either way, I'll consider it a win for me.
So tune in over the next few weeks, have few laughs, maybe shed some tears and follow a 34 year old man as he slowly realizes he is no longer in touch with the music of today and blames it all on 20 something hipsters who have a stupid fascination with the 80's fashion trends and crappy 90's R&B.

*the title of this blog obviously has nothing to do with the subject matter.  It's just a phrase that has always cracked me up and I saw it on a bumper sticker recently. As a result have had the song "Ride the Wind" by Poison in my head ever since (4 days now).

Of Course He Did...

*sigh*

I lump Rivers Cuomo and Thom Yorke in the same category of musicians that I used to think were clever in their quirkiness but now irritate me as I get older.  It's the same way people wearing baseball caps so they cover their ears and large headphones (oddly enough people that have hats cover their ears wear big headphones over them.) irritate me.  Actually, no, there's no relationship there.

Testing. Testing. 1,2.

Me again.  I needed a mental break and I thought I'd wander back here.  Does anyone actually read this thing or have I totally blown it off so much that the few people that did read it or check back from time to time are so annoyed they don't bother?  If I was you I'd have stopped checking by now.
Maybe I just need to write about other things than music.  I could complain about politics, sports or the construction on the CTA.  That always gets people riled up.  Maybe thats the issue.  However, I do have plenty of music theories right now that if I wrote about them would fill up some space.  One theory is how I blame Belle and Sebastian and Neutral Milk Hotel for the current state of horrible music (did I mention I saw Neutral Milk Hotel open for Superchunk at a bar in Champaign Illinois in 1997 or 98?  Yeah, I'm cooler than you are).  Or I could write about this thought I had the other day where maybe Nirvana was more popular as a mellow acoustic cover band than the rock band (grunge, alternative, punk, etc) that gave us Smells Like Teen Spirit.  That one came to me a few days ago while I was eating soup.
I could write about the new My Bloody Valentine album and I how wasn't that impressed even though everyone else was.  Or I could write about my unhealthy obsession with Kid Rock.  That one though is touchy.  It really evokes some anger in people.  Maybe I should just stay away from that one.
Maybe I'll just write short random things like this from time to time without posting something elsewhere saying this up.  That way you'll have to keep checking back to see if you're missing anything.
Wow.  Thats kind of arrogant isn't it?  Or is it just lazy?

Are We Talking About the Same Ride?

Note: If you're not familiar with the band Ride this entry might not mean much to you. So I encourage you to listen to some of their songs not just so this makes sense but because they're one of my favorite bands of all time. Long time no see everyone. Sorry but I forgot my login... So this whole blog started because I had become disenchanted with current music. One of the biggest examples is the confusion I feel when I read Pitchfork these days. The problem could be my fault (I admit that I listen to more UFO and Bad Company than Animal Collective and Beach House these days) but I really don't like much of what they write or review anymore. I don't get what makes the bands they love so great. They all seem to fall into the same categories; this new R&B trend (which deep down we all know is meant to be ironic because nobody really liked Jodeci back in the day), bands that sound like Depeche Mode meets Brian Wilson, Norwegian Techno, or Metal (I will agree that these are not the only categories of music they cover but they use sarcasm a lot so I figure it's okay if I do also to convey my point). However, from time to time they cover the reissue of some amazing album from 2 decades ago and I am genuinely interested to read about it (Bonus tracks yo). So I read it and ponder the question "am I thinking of a different album?" For example, today I just read the review for the reissue of the Ride album Going Blank Again. I love Ride and love that album. Tons of great things can be said about that album and they do praise it (gave it an 8.7) but one of their comments is so ridiculous that it not only confused me but angered me more than if he said it was the worst album since Jodeci's Diary of a Mad Band (see that’s a joke because they wouldn't say that, instead it'll be in the top 50 albums of all time next month). This isn't a joke people. Somebody wrote this: More and more, I think the true impact of hip-hop on Ride wasn't evident in Colbert's drum fills so much as their seeing chord progressions as rhythmic beds as much as melodic ones, the way a rapper might treat a breakbeat. *sigh* I'm going to listen to some Aerosmith.

Different Gear, Still Liam

Let me first say that anyone that knows me is probably shocked I have not written about Oasis yet in this blog. I could probably spend 3 entries along discussing the finer points of Be Here Now (an album hated by most including the man who wrote it, Noel Gallagher. I on the other hand consider it to be a masterpiece…and also an example of how cocaine can really make you lose focus). I have defended my love of this band for 16 years will still stand by my claim that Oasis was one of the most influential bands of the 90’s. You don’t believe me? Go to a bar next Friday and play Champagne Supernova or Don’t Look Back in Anger on the jukebox. I’ll meet you there. It’ll be fun. We’ll have some beers and sing along.
Despite my love (i.e. awkward obsession) of Oasis, I really did not expect much from Liam Gallagher’s first post-Oasis venture, Beady Eye. Too be honest, the last album Oasis put out didn’t do a ton for me and I finally accepted that it was just time to accept that their best days were behind them. I’m a mature adult. I can accept and admit things like this now (you can’t see it but I’m sobbing uncontrollably right now). Plus Liam Gallagher has really dropped the ball ever since Noel let him start contributing songs. I’m pretty sure Noel has done this out of spite. He hates Liam so much that he’s willing to have horrible songs on his album just so the whole world realizes his brother is a horrible songwriter and how much weight he has to carry in Oasis. This of course goes completely over Liam’s head.
Thankfully Liam has Andy Bell and Gem Archer to help him out because Liam made a damn good album without Noel.
Beady Eye is the last incarnation of Oasis minus Noel Gallagher but it’s also a Britpop supergroup. Liam Gallagher of Oasis on vocals, Andy Bell of Ride on lead guitar, Gem Archer of Heavy Stereo on rhythm guitar, and to a lesser degree Chris Sharrock of the La’s and Robbie Williams on drums. I know! It’s kind of awesome when you think of it like that. It’s the album that all of those bands trying to ride the Britpop bandwagon in the mid to late 90’s were trying to make. It’s what Coverdale Page was to Led Zeppelin. It’s the ultimate Oasis rip off.
The songs are kind of all over the place as far as sound. Sometime psychedelic, sometimes Beatles and Stones (though oddly enough, not really on the song titled Beatles and Stones), and at one point Ricky Nelson. The album is definitely deeply rooted in the 60’s. The opening track, Four Letter Word is a great song with a ton of attitude. So much attitude that I’m kind of worried it has caused me to strut down Lincoln Ave while listening to it on my headphones. The album is very stripped down and simple, which is what rock n’ roll should be. It’s got catchy hooks and some really good guitar grooves. It’s a fun fucking album to listen too. The first time I listened to it I put the it on and started working on something else. By the second song I was no longer really paying attention to my work and instead was bobbing my head and playing air guitar.
However, there are some duds on the album. Particularly the song Kill for a Dream which proves Liam Gallagher must be signing everyones paychecks because there is no way in hell any man with an ounce of talent would allow this on their album. This ranks up there with Liam’s song Little James on the Oasis album Standing on the Shoulder of Giants. Someone needs to explain to Liam that every line does not need to rhyme. Jesus. Ultimately though, it’s all good.
Beady Eye’s debut album Different Gear, Still Speeding, isn’t going to change the world, nor will it start a rock revolution like the early days of Oasis, but it’s a good rock album. Liam Gallagher doesn’t want to sound like Oasis did 15 years ago (and frankly, he can’t. The guy that wrote all the songs left his ass.) but he still wants to make rock n’ roll. I wish more bands I liked when I was younger took this approach to making albums these days (I’m looking at you Radiohead). You can change and grow as an artist and you can also still make rock n’ roll.
Nice job Liam…I bet your brother’s album will be better though.

Chinese Democracy: You're Really Pushing This Patience Thing Axl...

It took Axl Rose 14 years to write, record (and according to many reports re-record…and then re-record again), and release Chinese Democracy. Well, guess what Axl, I don’t know if this was the reaction you were going for, but it took me over two years to actually comprehend this mess of an album and then finally appreciate it. It then, using your playbook as a reference, took me another two months to write this blog post. Well, actually it was two months of me telling my girlfriend I was going to write about it. The actual writing part probably clocked in at a few hours.
I bought this album the day it came out. I think the words “Chinese” and “Democracy” were in the first sentence I said that day. I could not wait to hear this album. (Side note: If record stores still opened up at midnight before an album came out, I would have been there. Apparently the only thing that warrants stores opening at midnight is a new Harry Potter. It used to be stoners and their Camaros in the parking lot waiting for the new Metallica album. Now’s it’s soccer moms in their minivans. Sad. ) As I was on the bus going to buy it I couldn’t help but kind of understand how Rose probably felt finally releasing this album. I was 30 and had spent over 10 years waiting for this album called Chinese Democracy. Fourteen years for a new Guns album, almost half of my life! What would it be like to live in a world where Chinese Democracy actually existed? I think I blacked out trying to fathom the concept, because the next thing I knew I was walking out of Best Buy with a copy of Chinese Democracy. Just as I had the first day Use Your Illusion I and II came out, I raced home to listen to it. (Well, it was a little different. I had to have my mom drive me to the record store for Illusion.) I listened to it non-stop for probably the better part of a week. After the hype, the anticipation, and submerging myself in it, I told everyone my thoughts: it sucked.
There is no way anyone could expect this album to be better than Appetite for Destruction or even Use Your Illusion. You really would have no place to even expect it to sound like Guns N’ Roses. Axl Rose was the only remaining member from the original core lineup of GN’R. He was one of the main songwriters, yes, but the two that most influenced the music side of it were Slash and Izzy Stradlin. Slash and Izzy were the Aerosmith and Stones-loving guitarists who shaped the rhythm and sound of the original Guns. Axl added the bombastic elements of Elton John and Queen. The “artist” element, if you will. Which is odd, since Axl also seemed like the most homophobic of the group based on the song One in a Million. The rest of GN’R is what made that raunchy, sexy, rock n’ roll sound on Appetite. Without them…you get Chinese Democracy.
To say this album is over-produced is a gross understatement. There are layers upon layers upon layers of guitar, and every time Rose isn’t singing there is some kind of guitar solo. And speaking of singing, on most of the tracks Rose is singing the same line in different tones. Oh, and there‘s that whole thing of it costing somewhere around 13 million dollars to make. A hefty part of which I’m assuming went to the chicken coop that was constructed for Buckethead to record in. (I would have killed to have been a fly on the wall for that conversation.) But when you recruit a guitar player who has never been seen without wearing a kabuki mask and a KFC bucket on his head, you can’t complain. You just build it.
Buckethead was one of the rotating cast of guitarists. I think there were four or five different people that played guitar for the album, some leaving and coming back later. Three different drummers came and went, so you had a rhythm section that was constantly changing, aside from Tommy Stinson, who stayed on the whole time as the bass player. Paul Westerberg will never let him live that one down. Plus, everyone from Moby to Shaquille O’Neal was supposedly on the album at one point. So it seems that there was never a direction for how the album was supposed to sound…which is what it sounds like…and is part of the reason that now, 2 years later I’m singing this albums praises.
It’s obvious Axl Rose was on a big industrial and electronica kick when he wrote a lot of this. However, that can’t surprise anyone since one of his most popular pieces of clothing on the Use Your Illusion tour was a Nine Inch Nails T-Shirt (the others being a kilt, an umpires vest, a feather boa, and an N.W.A. hat) so we knew he was starting to get into something other than what influenced the previous Guns N’ Roses albums…that, or he was always into it and simply fired the rest of the band for constantly giving him shit about his love of Front 242… Regardless of the influence and the overall absurdity of everything surrounding the creation of Chinese Democracy, it is a grand and epic album, and you have to appreciate that, simply because of the fact that nobody makes an album like that anymore. You also have to appreciate the fact that Axl Rose is such a nutjob. Say what you will but Rose does not ever apologize for anything, including taking 14 years to release the most bloated album of all time. The reason for this is that he believes he has nothing to apologize for. Axl Rose isn’t a character. Axl Rose is Axl Rose. And based on what I’ve read, he’s always been that way.
Axl Rose is the reason why anyone bought Chinese Democracy. He’s one of the few real rockstars left, and that’s why an album that didn’t have any of the other original members, that took an obscene amount of time to come out, and that we all knew could not be nearly good enough to justify the wait, debuted at #3 on Billboard. There is just something so badass and intriguing about him that people still love him no matter what. Think about it. It is a known fact that GN’R shows start like, 3 hours late, and might very well end after 2 songs. BUT THEY STILL SELLOUT. Axl Rose has repeadlty had incidents that involve him beating up women. BUT SCARLETT JOHANSSON HANGS OUT WITH HIM UNTIL 4AM AT A CLUB IN NEW YORK , RESULTING IN HER LEAVING HER HUSBAND RYAN REYNOLDS WHO, LETS FACE IT, IS MUCH BETTER LOOKING THAN AXL ROSE THESE DAYS. (There isn’t any documentation that the reason that Johansson and Reynolds divorced is because of Axl Rose. However, if a few months after hanging out with Axl Rose in the wee hours of the morning you leave your husband there’s got to be a connection, and I’m sure Ryan Reynolds punches a wall every time Sweet Child O’ Mine is played at the bar.)
So I’m singing a different tune about Chinese Democracy 2 years later. I guess I’m telling people this because it’s easy to just write this album off without a second chance (or maybe a fifth or sixth). But you really should. I feel strongly about this. It’s not Appetite for Destruction, it’s not Lies, it’s not Use Your Illusion. Hell, it’s not even the Spaghetti Incident? It’s Chinese Democracy and it’s awesome because of both the high points and the lows. It’s all over the internet so it won’t cost you anything to give it another try.
Here are my favorite tracks:
Chinese Democracy: When the chorus kicks in you might punch the person next to you in the face. Just a warning.
Shacklers Revenge: Even better chorus but this time you just want to pump your fist and step on the gas. Plus, at the 2:18 mark of the song there is one of the most exaggerated guitar solos ever, with this background noise I can’t describe, but love. Might be my favorite song on the album
Street of Dreams: One of the two songs on the album that sounds the closest to an old Guns N’ Roses song. Mainly due to Rose’s vocals. They had to have been recorded in 1999 because there is no way his voice can still do that now. If I’m wrong, Axl I apologize. Also the guitar solo sounds more like something Slash would have played. Slower and bluesier. (I don’t think that’s an actual word but I’m allowed to take certain liberties with the English language in this blog.)
Catcher in the Rye: Definitley the poppiest track on the album. I’m not sure if Axl is trying to compare his 40+ self to Holden Caulfield, but I wouldn’t put it past him. The song has a good “Na,Na, Na” bridge that goes into an ending that could only be described as “soaring”…yes, “soaring.”
I.R.S.: The second song that sounds like it might have been written by the original Guns N’ Roses. The most vintage Axl Rose vocals on the album and a good heavy guitar riff. This song sounds like it’s about his large amount of legal issues or something about a past girlfriend. Granted, my tax knowledge starts and ends with H&R Block, but I’m not sure where the Internal Revenue Service would help in this case. I like to believe this song is also about Slash somehow.
Madagascar: This was one of the songs I was most looking forward to hearing. GN’R played a bit of if when they did the surprise appearance on the MTV awards (which was such a big deal to me that I believe I called at least three people to turn on their TV. The only other time I did this was when I called a good friend of mine to tell him that Dawson finally slept with Joey on Dawson’s Creek.) The opening orchestral part makes you think this was supposed to be the biggest song on the album, like November Rain, but somewhere it kind of loses that. The whole song sounds like it’s building up to something that never happens. Still great though.
Prostitute: The other song that might be my favorite on the album and was the one next to Madagascar that I was looking forward to hearing the most. I remember reading an article in the late 90’s where someone was saying that Rose had been struggling in the studio with this song saying it was similar to the song Coma on Use Your Illusion I. That song was one of my original favorites from that album so I spent the next 10 plus years waiting to hear it. I think Rose wanted Madagascar to be this album’s November Rain, but personally I think this track is it. To me it sounds like Rose might have been listening to a lot of Smashing Pumpkins at the time he wrote this one. Which is fine. So was I. It’s the perfect song for the album to end on. I don’t know if prostitute is a metaphor for how Rose felt about himself, or if it’s about an actual prostitute he knows (either is quite plausible,) but the first lines of the song pretty much sum up the whole Chinese Democracy experience and the last 15 years of Guns N’ Roses.
“Seems like forever, and a day. If my intentions are misunderstood, please be kind. I’ve done all I should”
Don’t worry Axl, I get it. I was wrong and you were right. This is exactly the album you were supposed to make. I understand now and I’ll see you in another 10 years brother…but hopefully with Slash, Izzy, Duff, and Steven (Matt Sorum will be fine also but I’m pulling for Adler).

Coetime at the Apollo Best Albums of 2010

Wow. This year was not good for Coetime at the Apollo was it? 2 posts? One entirely devoted to the Gin Blossom's? Sorry everyone, guess it's just been a busy year.
But what better way to end this year of Coetime at the Apollo than the ever famous "Best of" list?
Last year I went on and on about how nothing good came out in 2009 and how I was a huge Buckcherry fan. Well, this year I'm still a Buckcherry fan but I felt a lot of good music came out this year. Sadly I'm not sure what it is because I didn't listen to it. This is no fault of the music industry or the music thats out there. It's because I'm lazy and my internet connection prevented me from illegally downloading music. Plain and simple.
My plan for this year is to start buying vinyl (records...not pants). I think that will somehow make me start paying attention to new music. Or maybe it will just help me bond with people in skinny jeans.
Anyway lets wrap up 2010 with the Best Albums of 2010 according to yours truly.

Drum roll please...

1.) The National High Violet-While I like their previous two albums more than this one it's still my favorite of the year and spent the most time in my head. Side note: Blood Buzz Ohio was my anthem for the summer and might be one the best song titles ever
2.) Justin Townes Earle Harlem River Blues-I discovered Justin Townes Earle at the start of the year and got to see him a couple times in concert. He might very well be my favorite songwriter currently. On this album he leans more toward Springsteen meets Buddy Holly than Hank Williams like his previous albums. Check out the track "Rogers Park"
3.) Surfer Blood Astro Coast-Basically the new Weezer and awesome as hell. Saw them at Pitchfork and felt old as hell. Love the last track Catholic Pagans.
4.) Alkaline Trio This Addiction- I didn't even know this album was out until a month after it's release. I'm also surprised that the title track has not been used in a commercial for Celebrity Rehab. Usually when a band says their album is a return to their original sound I roll my eyes but the trio actually comes pretty close on this album. Basically this should have been the album they put out after From Here to Infirmary.
5.) Band of Horses Infinite Arms-I think this album got bad reviews but I like it. What do I know though...
6.) Titus Andronicus The Monitor-Any time a band puts out a concept album about the Civil War I'll support it. Had never heard any of their stuff before this one.
7.) Arcade Fire The Suburbs-Was I the only one that thought this album was really long? I like it though.
8.) Girl Talk All Day-Another album where me and thousands of teenagers agree. This guy is like Rainman with music. I don't know how he puts all of this stuff together. Gotta check out the part where he has ODB rhyming over Radiohead.
9.) Drive by Truckers The Big To Do- This album seemed to lack something but I still enjoyed it. If you like Drive by Truckers you'll like it.
10.) Vince Neil Tattoos and Tequila- Vince Neil doing a bunch of covers and a few originals (that were written by someone else). 12 year old me would have put this album at number 1. 32 year old me puts it at number 10 and is tempted to place it at number 7...


So thats it everyone. It wasn't pretty but that was the year in music for C.O.E.

I think I've made this promise before but there will be more written for Coetime at the Apollo. So keep checking back because even if there isn't anything new this shit is hilarious and worth rereading.

Talkin' 'Bout My Gin-eration

Back by popular demand folks!

Sorry for the hiatus but I just wanted to make sure you were all paying attention.
So on to more important things …lets discuss the Gin Blossoms.

Just hear me out here.

The Gin Blossoms came out at a great time in music history, and that’s because at that time , people still listened to the radio for music and Best Buy just started selling CD’s for like, 8 bucks cheaper than Sam Goody.

Now I’m not going to kid myself or anybody else out there and claim that the early 90’s were the golden age of radio. Fuck, that’s the farthest thing from the truth. At that time the station that was playing the Gin Blossoms was going to follow it up with 1 of the following songs: Creep by Radiohead, Loser by Beck, That Crash Test Dummies song that was sometimes called the Campbell Soup Song, or Mr. Jones by the Counting Crows.

Now I’m not saying that is wasn’t a great age because of the quality of the music but because those 5 songs were the only fucking songs they played! And since CD’s were so much cheaper at Best Buy we took a gamble on blowing the only money we had on an entire album from which we had only heard one song.

Lets loop back to the Gin Blossoms shall we?

Why am I devoting my comeback blog entry to the Gin Blossoms? I’ll tell you why:

1.)Because one of my favorite stories to tell is how the Gin Blossoms played a sports bar in my hometown like 10 years ago and skipped out on their tab at the Outback Steakhouse before their gig (my friend’s sister was their server, so it’s true.) and

2.) because Hey Jealousy is one of the best songs of all time.

I have multiple friends that agree with me on this (well maybe I’m the only one that puts it above anything Mozart ever did but they agree it’s good) While it’s no Love Song (see my previous post on Tesla’s masterpiece), it’s pretty fucking good. And it’s not good because of its artistic merit. And it’s not good because it’s a technical piece of music or because it broke down barriers. It’s not even that it’s good in its simplicity.It’s a good song today for the same reason it was a good song then.

Any one of us could have written that fucking song.

Seriously, if I was able to actually write music, the first thing I’d write would probably sound something like that song! Hey Jealousy is a song we can all relate to! I mean seriously, that whole song plays out like a conversation I had every weekend of my teens (and maybe into my 20th year before I could get into bars.)

One of my friends: What are we going to do tonight?
Me: We could drive around this town. Let the cops chase us around.

Okay, so the conversation wasn’t exactly like that but it wasn’t too fucking far from it.

And the line “If you don’t expect too much from me you might not be let down”? Jesus Christ! That’s like the slacker mantra! Which is what we all were!

I hate to break it to you folks but if you graduated from high school between 1993 and 1998, this is the anthem of our generation. We’d probably all like to think it was something cooler like a Pavement song, or hell, we’d probably even settle for Beck. But no, it was the Gin Blossoms Hey Jealousy.

Think I’m wrong? Listen to it again. Think about riding around with your friends or by yourself right before summer break, smoking cigs, listening to the radio, and trying to figure out what to do that night.

It’s okay; at least it wasn’t that song “Detachable Penis”

2009: The Year in Music (a.k.a. I'm not mad at you, I'm just disappointed.)

2009 has come to an end and leaves in its wake a year of shitty music. Sorry, but someone had to say it. Inevitably people will disagree and talk about all the great music that came out this year - but this is my blog, and in my world, it sucked.
I usually have a top 10 list of favorite albums and songs by year’s end, but I’m struggling this time around. Based on my itunes and last fm page the only thing in my top 10 that was new this year is Cymbals Eat Guitars album Why there are Mountains which is what I would put down as my favorite album of the year.
I think after that would be the Avett Brothers album I and Love and You which I got into late this year but have been playing the hell out of for the last month or so.
Third is going to the Julian Casablancas solo album (see a few posts back. You’ll like it)
Fourth is going to the Japandroids album Post-Nothing. I saw a little of this band for the first time this summer at the Pitchfork Festival and liked the little that I caught. Sadly, I left after one song because of the hipster/hippie right in front of me that kept waving a sunflower the size of Gandalf’s walking stick in the air and in my face (I swear and hope to God that’s the last Lord of the Rings reference I ever make. I kind of feel like I should kick my own ass on principle).
The number five spot is going to a band I discovered this year called Dusty Rhodes and the River Band. First, because any band named after a professional wrestler is pretty fuckin’ cool in my book. Second, this band is badass live. I caught them opening for Art Brut and although I have an opening band curse where every one I see tends to suck, these guys were great. Fun as hell. Their album Palace and Stage is number five of 2009.
Now here’s something frightening. Apparently, the 4th new band I’ve listened to this year was fucking Buckcherry. Now, I know Buckcherry has been around for like 10 years or more - and yes, I was aware of their existence, but I only realized how awesome they were this year (Go ahead and judge me prick. You and I both know Buckcherry is awesome. I’m just brave enough to admit it). And while I will openly admit that they rule, I am shocked and somewhat appalled at how much I’ve listened to them this year.
So I guess that’s it for 2009 for me. Five albums worth mentioning. I guess I liked the Real Estate and Girls albums. And I did eventually warm up to the new Arctic Monkeys album Humbug so I guess those 3 tie for the number 6 spot. Oh yeah, the new Wilco was good too. Put that at six and then a 3 way tie for 7.
So it looks something like this:
1.) Cymbals Eat Guitars Why There Are Mountains
2.) Avett Brothers I and Love and You
3.) Julian Casablancas Phrazes for the Young
4.) Japandroids Post-Nothing
5.) Dusty Rhodes and the River Band Palace and Stage
6.) Wilco Wilco the Album
7.) Tie: Real Estate Real Estate, Girls Album, and Arctic Monkeys Humbug
8.) The entire Buckcherry catalog.
I’m hopeful that 2010 will be better. I’m already looking forward to the new Vampire Weekend in January and the new Midlake in February so that’s a good start. Maybe Noel Gallagher will put out his solo album this year.
I would also like to take the time to say this. Animal Collective and Grizzly Bear are good, but way overrated. You and I both know this. Accept it; you’ll feel better.
Thanks for reading Coetime at the Apollo and Happy New Year.

All You Need Is...Love Song by Tesla

The following three bands make my list of the most underrated bands ever: The Kinks, Thin Lizzy, and...Tesla. Yes, fucking Tesla. Now let me explain myself here.

Tesla for some reason gets lumped into the category of hair metal but really was nothing like the rest of their peers (main reason: while most of those bands were filled with pretty boys, the bass player and drummer of Tesla might be the two ugliest dudes that have ever picked up musical instruments). Tesla was a hard rock band in the truest sense of the genre. The lead singer (Jeff Keith) has one of the best rock voices. (I'm a firm believer that the best voices are gravelly and scratchy. Hence why Liam Gallagher and Rod Stewart rule…but I digress…)

There are 3 albums I vividly remember hearing for the first time and being blown away. Appetite For Destruction by GN'R, Nevermind by Nirvana, and Mechanical Resonance by Tesla. My older brother played it for me when I was 8 and I remember he had somehow gotten an advanced copy (which actually boggles my mind now that I think about it. How the hell did my 14 year old brother with no connection to the music industry end up with a promo of Tesla's first album?)

All things aside, the real focus of this entry is that Tesla is one of the most underrated bands ever because they wrote one of the best songs of all time: Love Song.

I do not care what you say. Unless you agree with me, you are wrong. American Pie, Freebird, Smells Like Teen Spirit, Bohemian Rhapsody, Strawberry Fields...they got nothin' on Love Song. This song is amazing. Starts off with a slow classical guitar solo (totally stolen from Dee by Randy Rhoads but whatever...it's homage) and then goes into a slow ballad-type intro, followed by two guitar solos (Frank Hannon and Tommy Skeotch represent) and then blows up with a huge fist-pumping chorus that proclaims "Love will find a way." How great is that? It's fucking triumphant! Hopeful! Love will find a way, damn it!

Now I'm not going to lie here. I have never listened to another Tesla album after their third studio album Psychotic Supper. All I know is that at some point they made an album called Bust a Nut that had a picture of a walnut in a vice grip or something on the cover. But if my brother ever somehow manages to get his hands on an advanced copy of a new Tesla album (which would probably be even more mind-boggling now) I'd definitely give it a listen.

A History Lesson for the Hipsters

There are many different types of albums out there in the world. "Well of course there are," you say. "Rock, Rap, Country, some kind of electronic music that will be out of date 3 months after it is released (don't worry though, it'll be retro 8 months after that and will be played at college parties for the next 12 years.) I'm talking about a specific type of album that some bands make. Not every band has this type of album, and not all of the bands that do have good ones. Some of them though...are the greatest albums ever made. I'm talking about the drug album. The one that was inspired by something that can only be legally obtained with a stolen prescription pad.
Recently I've rediscovered one of my favorite albums of this category, This is Hardcore by Pulp. For those of you that don't know, Pulp was huge in the UK during the Britpop scene and had very brief success here in the U.S. (however, as of late hipsters across the country have embraced Jarvis Cocker and his solo work. Good for you hipster-douche. Much cooler than back in '98 when you were embracing Marilyn Manson t-shirts and Korn CD's.)
The album came out in 1998 and is to me the last Britpop album. While it was given good reviews by the critics and went to number 1 in the U.K. it didn't do much here...which is a shame because it is great from start to finish.
Why do I call it a "drug album"? Well, the first track is over 5 min long, the first single off the album is over 6 min long, 90% of the songs make a drug reference, and one track that is over 8 minutes long spends 5 minutes and 30 seconds building up to less than 2 minutes of music. While I've never had the pleasure of a cocaine-fueled psychotic episode, I completely plan on this album blaring if I do. In short, this album is incredible.
I love the different layers of guitar, the bass, and the orchestra that keeps popping up in songs throughout the album (another sign of a drug album). There is also something about the drums on the album that sound incredible to me. Especially on the track Sylvia. There is just a really cool groove throughout the album. And of course you can't ignore the incredible voice of Jarvis Cocker. Narrating the story of his life going out of control, he sounds like David Bowie on one track and Leonard Cohen the on the next. It's a pop album that you can dance and pump your fist to, but at the same time, it's dark as shit.
Have you ever had a party at your house where at the end of the night you've had way too much fun, you're way too drunk, way too tired, and you just want to tell everyone to get the hell out of your house? That's This is Hardcore.
Favorite Tracks
The Fear
TV Movie
A Little Soul
Sylvia

I Still Want to Punch You in the Balls, Julian Casablancas

So I thought this blog would be me writing about whatever it is I'm listening to at the time and that it would be things that have been out for quite sometime because I wasn't up on new music anymore. Low and behold, I've been hooked on a new album for the last couple of days! Granted it's a solo album by a guy whose band really hasn't been hip in something like 6 years, but whatever, it's a new album. Put me on the board.
So in 2001 I was like a lot of Strokes fans. While being completely blown away with their music I also wanted to give every single one of them a cock punch. Well, maybe not the bass player. He seemed pretty harmless...but yeah, aside from being annoying I loved the Strokes and listened to the album constantly. I even thought the second album was great as well, which I'm pretty sure was considered a failure. The third album though, I think is pretty much destined to spend the rest of eternity as the "i didn't even know they made a third album" album. Which is good, because it's pretty bad.
So, like most Strokes fans, I pretty much wrote them off as a band I would never seek out again, nor did I care to. Then somehow I stumbled across the new solo album, Phrazes for the Young from lead singer Julian Casablancas.
Son of...
this album is good. I mean, honestly, it's awesome.
If you never liked the Strokes, then don't bother - because it sounds like a Strokes album a lot of the time - but that's mainly due to the fact that Casablancas has a very distinct vocal sound. Musically, it's kind of all over the place, ranging from the signature Strokes guitar sound and fist-pumping choruses to 80's synth and drum machine beats that wouldn't sound out of place at a dance club. I'll even go out on a ledge and say Julian Casablancas does a good job at channeling Lou Reed on a couple tracks. Yeah, that's right.
I forgot how much I liked the dudes vocals. Some people have whiskey voices; Casablancas has a beer voice. Slurring and crooning his way through a song in a fashion that only 7 Budweisers could create.
I read an interview with Casablancas where he said the Strokes are planning on getting together in the coming year to work on a new album but he didn't seem that optimistic. I'll tell you what Julian. Don't bother. Using this and that last train wreck of an album you guys put out as a reference, I say stay with the solo career. Hopefully you tour and come to Chicago, because I'll be there. Can't say I won't want to still give you a cock punch though...
Favorite tracks:
Out of the Blue
Left & Right in the Dark
Ludlow St.
Glass

Gram's Tune

Am I the only one who finds that their music selections are heavily influenced by the seasons?
Something about the fall makes me want to listen to country or alt-country, or just anything where the acoustic guitar is used.
As of late, I've been on a big Gram Parsons kick. This happens a few times a year and it's always a welcomed mood.
What I love about Parsons is the selections you have. From his work with, the International Submarine Band, the Byrds, the Flying Burrito Brothers (which coincidentally is the best name for a band ever), or his solo albums. Each is a little different than the other yet still maintains his style of songwriting and his country influence.
You'll always see him referenced as being a founder or main influence of country rock. And many times people will say he was a huge influence on the Stones during the Exile recording. All I know is that, to me his music sounds like an old friend...And by that I mean the old friend that when you see them, you end up drinking all night long and playing air guitar at multiple times.
Obviously the most tragic thing about Parson's music is that there isn't more out there. Like many rock stars of that era, Gram died young of a drug overdose.
The story of his life is one that sounds like it could have been made up; heir to a large fruit grove and shipping company, had a father named "Coon Dog", enrolled and dropped out of Harvard, went to L.A. to become a famous musician, became friends with the Rolling Stones, and finally, burnt out before he faded away.
For those of you that like alt country, country, classic rock, or just music in general you need to listen to his music. And might I add that you should drink a can of Coors when you do....
Be sure to check out these tracks when you do:
$1000 Wedding
Hot Burrito # 1
Six Days on the Road
Sin City
Dark End of the Street
A Song for You
Kiss the Children
Wheels
Hickory Wind