Review: The Libertines: Time for Heroes: The Best of

My Libertines review can be found (click here) on treblezine.com


The Libertines
Time for Heroes: The Best of
Rough Trade
2007

"Reissue/repackage…re-evaluate the songs…double pack with a photograph…with a tacky badge."

These immortal words by Morrissey on "Paint a Vulgar Picture" from The Smiths' last opus Strangeways, Here We Come have been an omen to the band and lead singer himself. Guilty of the crimes he had been seething about so eloquently in that infamous song. Morrissey, himself, is set to release yet another solo hits collection, his sixth compilation since the demise of his former group. The question I have to ask is why? Why is this necessary to subject such a bludgeoning to the fan base who's so devoted to you?

To be fair, Morrissey isn't the only one who's committed these acts against his legions of followers. Many artists are guilty of doing so, and with more annoying results. Even though I'm not a fan of such a practice, there are bands that justify releasing a "best of" by adding a track or two. But there's a fallacy to the act of adding new material to a hits compilation—those songs have never been heard before, what makes them worthy of being a "hit" or inclusion on a "best of" CD? I would love an artist to answer that question for me.

For now, my beloved Libertines get to hear it from yours truly. If Time For Heroes is truly a best of collection, what happened to "Music When the Lights go Out?" And, why no "Good Old Days," one of the most quintessential of Libertines tracks? Now boys, why are you doing this to us? I know that things are looking up for you but how about a little quality control over the release of your back catalogue recordings? Why would you try to swindle your fans with such a shoddy compilation? Why not add new or unearthed tracks? And don't even try to justify the release of Time for Heroes by saying that the addition of "May Day" from the I Get Along EP as an unreleased song. Nice try, but I am not buying it.

I know there has to be a rare track or two in the cans. The inclusion of the Bernard Butler produced tracks, including the re-recorded "Death in the Stairs," are lovely additions but not enough. Why not release some live tracks or some rarities like the acoustic X-Mas version of "Time for Heroes" from Jo Whiley's BBC show, where Pete sings "Carlos with his Santa Claus hat?" How about the official release of such classic gems as "Breck Road Lover" and "You're my Waterloo?"

I have loved The Libertines since the good old days; the brilliant music you have created has changed my life. Why not release a compilation worthy of your legacy of greatness? Here's hoping the next time you boys get it right. Until then, I won't hold my breath for a Libertines reunion, but I can at least eagerly await the next Dirty Pretty Things and Babyshambles releases.

Adrian Ernesto Cepeda
12.07.2007

Review: Bob Dylan: Dylan

My Dylan review can be found (click here) on treblezine.com



Bob Dylan
Dylan
Sony/Legacy
2007

I've been on quite a Dylan kick recently since the release of Todd Haynes' magnificent anti-biopic I'm Not There. I would love to say that I've been listening to The American Bard, Bob, all my life but that would be far from the truth. Just like Shakespeare seemed to me in my younger days, Dylan was the one singer that I had to grow to connect with. It took many years to appreciate the infinite complexities and simple beauties that make up the many ballads, epics and lyrical anthems that he has written and recorded throughout his memorable career. It was actually after hearing U2's much criticized cover of Dylan's "All Along the Watchtower" on Rattle and Hum which got me curious about The Bard. (Incidentally, Dylan plays on a few tracks with U2 including organ on "Hawkmoon 269" and he co-wrote and sings on "Love Rescue Me.")

The first Dylan discs that I ever bought were Biograph and The Bootleg Series Vol. 1-3 1961-91. But still it wasn't till I was living alone, out of my elements, in New Orleans when the words of The Bard finally began to make sense to me in my new surroundings. To this day, I remember hearing Dylan crooning the lyrics to "Love Sick" as I walked the French Quarter streets during my years as a solitary man. His voice resonated through me during my years as a starving artist. I came to appreciate the poet and the singer whom for me was once a stranger in an alternate universe. It's amazing when I finally connected with his music and words. I was reborn, everything changed to me. I looked at life as two distinct periods: before and after Dylan. Before I was blind and confused, and after my rebirth I was awake, aware with a sense of poetic amazement that was missing from my past life.

Yes, this is how much Dylan influenced me, as much as Henry Miller, Mark Twain, Hunter S. Thompson and Shakespeare himself inspired me in my ever growing ways as a writer in residence whilst living in New Orleans. I would disappear weeks on end, writing in my one bedroom Uptown Apartment with Dylan's voice echoing from my stereo as my fingers hit the keyboard. If my friends heard Dylan was singing from my apartment, chances are I was on my computer, and they knew not to bother me.

Times may have changed but my devotion to Dylan continued throughout my many moves around these past few years. The release of this new compilation, Dylan, will bring a new generation of wide-eared, earnest music listeners to the world of this musical marvel. You will find his words beautifully strange at first but listen, really, let him reflect his timeless voice through out you. You will hear shades of your own life, loves, fears, hopes and dreams throughout many of these tracks. The world you always wanted to live in. The girl you always wanted to fall in love with. All of this and more come to life when you press play.

Listening to Dylan is more than to hear a CD. It's an experience worthy of the Springsteen quote—You'll learn more in a three-minute record than you'll ever learn in school. You can bet The Boss was definitely talking about this timeless songwriter. Dylan is the perfect introduction to the School of Bob. This collection is separated in three CDs. The first showcases the Early Years, from 1962's "Song to Woody (Guthrie)" to 1967's "All Along the Watchtower." Disc Two focuses on the seventies, when Dylan's popularity hit its pinnacle from 1969's "Lay Lady Lay" all the way to 1985's "Not Dark Yet." The last volume in this superb collection is the Dylan of late from 1986's epic "Brownsville Girl" to 2006's "When the Deal Goes Down."

Is this the best collection available? Arguably, yes. Although I do tend to favor Biograph and the first Bootleg Series collection, Dylan is the best because of the mastering and the sequencing of the songs. Selected to stir and move you while reflecting on this amazing 3 CD set, you will discover why he is America's Poet Laureate of Rock. Throughout his many incarnations of folk singer, rock, alt-country and 21st Century rocker, Dylan has remained an artist looking forward, relented in searching for his muses through his many voices the results in this amazing collection are pure poetic gold.

So before or after watching I'm Not There, I recommend investing in this must-have document of The American Bard. Dylan will take you to places you have longed to discover inside of you. He sings for all of us in a voice sometimes not so easy to comprehend, but you will understand his message of life, love, faith and despair. Sing along and you will feel the resurrection shaking you into a personal state that reflects truth, beauty and hope that's pure Bob Dylan. Through the shadows of the past in a glimpse of the future that sounds like nothing before and after, you will be changed for the better. Believe Me—how does it feel?

Adrian Ernesto Cepeda
12.05.2007

Review: Soulsavers: It's Not How Far You Fall, It's Where You Land

My Soulsavers review can be found (click here) on treblezine.com



Soulsavers
It's Not How Far You Fall, It's Where You Land
Columbia-Red Ink
2007

What do you get when you combined the electronic eccentricities of Death in Vegas, mixed with atmospheric lush keys of Moby and the darkened gospel of one Mark Lanegan? The result is the Soulsavers. The perfect name for this band and since we are coming up to the end of the year, one of the best and unheard and soon to be underground classics of 2007.

Personally speaking, It's not How Far You Fall, It's where you Land, is the theme of where I was at the beginning of the year. Where were you in January, Soulsavers? Oh well, better late than never. This album is like the soundtrack to a 21st Century resurrection. I've already seen the light and come out of the other side glowing, stronger and better than ever. It's not How Far You Fall is for when you're ready to get up off the ground and peel off those scars in your new and unfamiliar skin, feel the revival in your bones and in your veins.

Speaking of which, "Revival" is the opening cut of the album. It's impossible not to feel inspired by this soulful number. It's like a Southern Gothic soul number with Mark Lanegan crooning "Wanna see revival tonight/Lord, it needs to be revival," backed by gospel singers that you would find singing to the heavens at any church in New Orleans. I was moved throughout "Revival" especially by the soulful organ keys; I felt like shouting, "I was blind now I can see!"

Soulsavers don't leave you hanging at the gates, no sir—the journey with Mark Lanegan as your guide continues with the funky and faithful "The Ghost of You and Me." This song feels like it's haunted, with twisted sax solos and distinctive backing beats that will have your heart racing, ready for more lyrical sermons.

I've always said that Mark Lanegan is the Post Modern Johnny Cash. He's doesn't just dress in black, though—Lanegan is The Man of Midnight. He is darkness incarnate with the light of devotion burning within him. It's this dichotomy of faith and fire that I have always respected from this timeless vocalist. Without his voracious vocals, Soulsavers would be soulless and empty. Lanegan continues his search for salvation on "Paper Money." He sings "Don't you ever leave me baby/ I believe that you can save me/ Heaven, just a taste/ Heaven's so far away." It's as if Lanegan's seeking for his savior outside the holy halls of a church inside his lovers arms. He believes in something, someone out there, rather than a deity it sounds like this soul singer would rather kneel down for just a touch of love.

"Are those halos in your hair/ or diamonds shining there/without a hope without a prayer?" Lanegan sings continuing his search for the one in "The Kingdom of Rain." In this largely acoustic number, Mark's deep vocals are showcased like a loner crooning to the stars: "Before I go I'm hanging on a cross on the nail/I hung on for you in there." He echoes throughout this lament as an ode to the love he's dying to find. Listen for the Neil Young cover of "Through My Sails," a duet with The Sultan of Sorrow, Bonnie "Prince" Billy. This beautiful number is one of the album's staples carries on journey you can feel Lanegan and Billy reaching new heights as they croon together, "Still glaring from the city lights/ into paradise I soared/ unable to come down."

I've always said that Mark Lanegan is the Post Modern Johnny Cash. He's doesn't just dress in black, though—Lanegan is The Man of Midnight. He is darkness incarnate with the light of devotion burning within him. It's this dichotomy of faith and fire that I have always respected from this timeless vocalist. Without his voracious vocals, Soulsavers would be soulless and empty. Lanegan continues his search for salvation on "Paper Money." He sings "Don't you ever leave me baby/ I believe that you can save me/ Heaven, just a taste/ Heaven's so far away." It's as if Lanegan's seeking for his savior outside the holy halls of a church inside his lovers arms. He believes in something, someone out there, rather than a deity it sounds like this soul singer would rather kneel down for just a touch of love.

"Are those halos in your hair/ or diamonds shining there/without a hope without a prayer?" Lanegan sings continuing his search for the one in "The Kingdom of Rain." In this largely acoustic number, Mark's deep vocals are showcased like a loner crooning to the stars: "Before I go I'm hanging on a cross on the nail/I hung on for you in there." He echoes throughout this lament as an ode to the love he's dying to find. Listen for the Neil Young cover of "Through My Sails," a duet with The Sultan of Sorrow, Bonnie "Prince" Billy. This beautiful number is one of the album's staples carries on journey you can feel Lanegan and Billy reaching new heights as they croon together, "Still glaring from the city lights/ into paradise I soared/ unable to come down."

And even though you won't want this trip to end, Soulsavers have saved the best for the finale—a gospel tinged cover of Rolling Stones "No Expectations." The end of the road never sounded this hopefully, beautiful and free. "Our love is like our music/ its here, and then it's gone" are the words that perfectly speak to the feeling I had at the conclusion of It's not How Far You Fall, It's where you Land. You're left dying to re-experience this righteous adventure again.

Though the name of the band is Soulsavers, the star of this show is definitely Mark Lanegan. He's a midnight singer whose voice is like a cigarette burning brightly in the dark. We follow his smoky flavor with songs like hymns, darkened with doubt but still shining with the hope of fulfillment. In every breath he croons for all of us who have fallen and are ready to continue our fight of survival. Lanegan's voice inspires you to believe in yourself and to sing the songs of your own salvation louder than ever before.

Adrian Ernesto Cepeda
12.04.2007

Column: Don't Think Twice It's Alright : Dylan Cover Songs

My Don't Think Twice It's Alright column can be found (click here) on treblezine.com



Don't Think Twice It's Alright

With the release of the soundtrack to Todd Haynes' Dylan biopic I'm Not There, I took it upon myself to go through the archives to find my favorite Bob Dylan covers that I feel are a fitting homage to our greatest living singer/songwriter.

1. Edie Brickell and the New Bohemians – "A Hard Rain's Gonna Fall."

From the soundtrack of Oliver Stone's Born of the Forth of July comes this perfect rendition of the Dylan classic. It's original, vibrant and Edie's vocal makes it her own. I actually prefer this to the original.


2. Sophie Zelmani – "Most of the Time"

This song, from a Swedish singer/songwriter who has been compared to Bob, appeared in Masked and Anonymous, which also starred Dylan. It feels like one of her own songs, the way she almost whispers the vocal as if she's reciting a letter in song. I love the echoing guitar solo; it's like a movie flashback coming to life.

3. Johnny Marr – "Don't Think Twice it's Alright."

I was never fan of this ex-Smiths founder and guitarist's solo output, mainly because I could never get past his awkward lyrics. But this version with Marr's trademark harmonica is an acoustic treat that Smiths fans need to seek out.

4. George Harrison – "Mama You've been on my Mind"

From the tumultuous and often bootlegged Get Back/Let It Be Sessions comes this acoustic gem captured on tape by Dylan's pal George Harrison. So intimate in nature this cover is worthy of unearthing by all Fab Fans everywhere.

5. Polly Jean Harvey – "Highway 61 Revisited"

PJ rocks this version from her Albini-produced Rid of Me album, enunciating every syllable of Dylan's lyrics while laying down killer riffs on this classic. Harvey captures the mystical aspect of Dylan's words while giving it the PJ power stroke that we all know and adore.

6. Nick Cave and the Bad Seeds - "Death is Not the End"

Polly Jean makes an appearance along with Kylie Minogue, Anita Lane and The Pogues' Shane McGowan on this all-star tribute. This rarely remembered yet stirring Dylan number makes for the perfect finale to Cave's Murder Ballads album. Play it and sing along with your drunken barflies during last call at your favorite pub.

7. Cassandra Wilson – "Shelter from the Storm"

The most original of all the covers is this "shelter" from Southern Jazz vocalist Wilson. A perfect blend of Deep South acoustic and her breathy midnight layered vocal.

8. Norah Jones – "I'll Be Your Baby Tonight"

America's favorite torch song piano vocalist brings to life this rare cover, crooning over her delicate piano keys. Play this song on your next dinner date with candles and wine to set the mood.

9. Jeff Buckley – "I Shall Be Released"

Buckley performs this version, my favorite of his covers, over the phone on WFMU circa 1992. Even through the telephone, the magic of Buckley's voice comes through as he captures the essence of Dylan's words in this most incredible rendition of this classic.

10. M. Ward with Beth Orton- "Buckets of Rain"

One of my favorite singers, M. Ward, in an aching duet with Orton, brings this Dylan classic to light in this tender yet live setting.

Honorable Mentions:

Jimi Hendrix - "All Along the Watchtower"

Of course, the version by which all Dylan covers are measured. This rendition was so original that after hearing Hendrix's version Dylan has continuously played Jimi's arrangement of his song. This will undoubtedly go down as one the best cover songs ever.

The Rolling Stones – "Like a Rolling Stone"

The Stones finally covered the song which Dylan name checked their band, more a tribute to a Muddy Waters track than the band itself. It's fitting to hear Mick Jagger sing Dylan's words "How does it feel to be on your own…like a Rolling Stone." Art imitates life, indeed.

M.Ward. Conor Oberst and Jim James - "Girl from the New Country"

This rare live cut from the Monsters of Folk tour featuring Ward, Mr. Bright Eyes and My Morning Jacket's James is, wait for it...legendary. Hearing this eclectic trio trade Dylan lyrics is a once in a lifetime event.

Cat Power - "Oh Sister/Knocking on Heaven's Door"

What can you say about the sultry Chan Marshall? She does Bob right, soulful, beautiful and true. The best version of "Door" ever, Lady Cat Marshall sounds simply heavenly.

Adrian Ernesto Cepeda
11.27.2007

Review: David Gray: Greatest Hits

My David Gray review can be found (click here) on treblezine.com


David Gray
Greatest Hits
ATCO
2007

Has it already been almost ten years since 1998's White Ladder was released? Where has this time gone? Though I must admit it was sometime in mid 2000 when I first heard David Gray. I had just moved on my own, for the first time, to New Orleans. I bought the year end issue of Q Magazine, with Thom Yorke on the cover, and it included a CD with the best artists and albums of the year, including David Gray's "We're Not Right." Of all the songs on that Q disc there was one of his lyrics that hit me, and one of my favorites that he has ever written— "Betty Ford won't you be my Valentine." I had just gotten out of a three year relationship and those words expressed how I was feeling at the time. I was single and alone, drinking heartily, in this wondrous Southern City. After playing "We're Not Right" over and over again, it became the theme song for my first bohemian summer as a barfly in New Orleans; I then went out and bought White Ladder. I was hooked from the beginning and have remained ever since.

Gray has to be the most popified (my word) artist of whom I am a fan. I'd say his music is a guilty pleasure. Still, the one thing I respect most about Gray is that he can write a grooved filled and addictive pop song. "Babylon" is what he's most famous for, but D.G. is no one hit wonder. Gray has had three UK number one albums—the above mentioned White Ladder, 2002's A New Day at Midnight and 2005's Life in Slow Motion. He has a rabid, worldwide fan base. He sold out two nights at The Wiltern in LA. And we can thank David Gray for the recent explosion of singer/songwriters such as Damien Rice, and blame him for the chart hit by James Blunt.

I have to say, gold records aside, that my favorite album of Gray's has to be Lost Songs. The aptly titled collection brings together a plethora of low-fi acoustic flavored "lost" songs that Gray had written from 1995-98 before his meteoric rise to international rock stardom. One of those songs, "Flame Turns Blue" makes an appearance on his Greatest Hits.

Many of my amigos know that I am not a fan of artists who release Greatest Hits compilations from new songs added (see my 2006 Best of Moby review). But Gray's the exception. David's new songs are worthy additions to his pop dominated discography. I prefer the opening track "You're the World to Me." It's a classic David Gray love song. He has a knack for writing joyous love songs that make you feel good on the inside. Even on piano ballads like "This Year's Love" you can't help but smile. This is why I love his music.

As you can guess, there are 4 tracks from White Ladder including "Babylon," "This Year's Love," "Please Forgive Me" and "Sail Away." Nonetheless, two of my favorite new Gray songs appear on this hits collection. "The One I Love" has the coolest line "Tell the repo man and the stars above you're the one I love." And "Hospital Food" contains the catchy chorus, "Tell me something I don't already know." I can't forget David's ultimate Valentine's Day song "Be Mine." I love the background harmony vocals with the recurring lyrics of "My heart is on fire," which ends in the ironic line "am I losing my sanity?" Only Gray could write lyrics this sweet and bright.

I've been listening to Greatest Hits since it arrived in my mailbox earlier this week, mainly because I hold a special place in my memories for Gray. I have to send him some special thanks for a night in my not so distant past. It's another New Orleans memory during my first Mardi Gras; I was tripping so intensely, all night long. The one album that I listened to that would calm me down while I tripped was White Ladder. I must have heard that album more than 20 times that night. Gray's music kept me from losing my mind, and I remember how sweet his voice sounded, keeping me calm during that wicked night.

For this and many other times in my life, I am indebted to the magical music from one David Gray. I dare you to listen to one of his song and not smile or feel happy. We have enough artists that sing about sadness and heartache. We need more David Grays in this world to help see the joy in our personal Babylons. Gray and his sweet English croon will stay in my ears and memories through winter, summer, day or night.

Adrian Ernesto Cepeda
11.29.2007

Review: Jesca Hoop: Kismet

My Jesca Hoop review can be found (click here) on treblezine.com


Jesca Hoop
Kismet
3Entertainment/Red Ink-Columbia
2007

Kismet is defined as fate, fortune, destiny or luck. Today I watched the first three episodes of the new internet-based dramedy Quarterlife by the creators of Thirtysomething and My So Called Life, Marshall Herskovitz and Edward Zwick. Quarterlife follows the life of misunderstood twenty-something Dylan Krieger, and watching it, I cannot help but think of singer/songwriter Jesca Hoop. Hoop's songs would make the perfect soundtrack voice for Dylan on the show. Both Jesca and Dylan are outcasts in their prospective universes. Both are creative and intellectually stimulating women who are naturally and distinctively gifted with the souls of poets, waiting to be discovered by the universe dying for authentic beauty.

Jesca Hoop comes to us from the magical hills of Los Angeles. She is one of a kind, though we actually do have artists with soul here in the West Coast, and she is a jewel waiting to be unearthed. She has a Fiona Apple-esque voice with a more eccentric lyrical vibe. It's no wonder that Tom Waits is a fan of this California Chanteuse. Take a dive into her world of Kismet; it's a strange wonderland with Pepper-esque sounds missing from this age of commercialized jingles clogging the airwaves with soulless toaster music.

From the opening Cocteau Twins-like effects of "Summertime" you enter inside Hoop's enchanting animated forest come to life. Her voice is the guide to the adventurous Kismet. The quiet moments are where Hoop's gift of lyrical marvel glimmers brightest. She has the one of a kind voice that you'll follow to the end of her imaginary trip. One of my favorite cuts is "Enemy." With just her acoustic guitar and slight harmonious chorus this song shines with lyrics like "I've come to see that beauty is a thing that is without grace."

Grace is a trait that many artists lack, yet Hoop is filled with charm, especially in the Hollywood-esque and Ditty Bop-ish number "Silverscreen." I love the lyrics in this timeless number, as I hear "Silverscreen" as Hoop's first journey inside Tinsel Town. Her witty wordplay best comes through when she sings, "The Gates of heaven are open/ and there is me/ on the silver screen/ I hope they did good editing."

"Money" is one of my favorites, a more upbeat ditty that makes the perfect segue from "Silverscreen." Hoop seems to know all about show business when sings, "…into the mirrors on the wall/ `cause if you want to belong you write a sing along." This satirical look trying to survive as an artist in this country of commerce is one of the best songs on Kismet. The backing vocals and eerie tones turn "Money" into a modern day ghost song for the innovative dreamers longing to have their shot in this land lacking any reasonable opportunity for success.

I have a soft spot for "Love Is All We Have," a lyrical ode to my old home of New Orleans and those who may have lost hope after the destruction of Katrina. With lyrics like "when we move with angels on our shoes, sickest angels you ever know, " it sounds like Hoop must have spent some time in the 504 because she knows how to layer her songs with some funky back beats. Listen to "Out to the back door" an urban soundscape with featuring the drumming skills on one Matt Chamberlain (who's best know for his work with Tori Amos and Fiona Apple).

Even though I first heard Jesca Hoop as the cinematic voice of Quarterlife's lead character Dylan Kreiger, she's meant to be more than a soundtrack muse. This breathtaking journey inside the lyrical mind space of this unconventional artist is so stunning that Kismet deserves to be dissected delved into and desired over and over again.

Adrian Ernesto Cepeda
11.28.2007

Review: Various Artists: I'm Not There OST

My I'm Not There review can be found (click here) on treblezine.com


Various Artists
I'm Not There
Columbia
2007

Who the fuck was Bob Dylan any way? The folkie, Woody Guthrie inspired acoustic troubadour folk hero who stood behind MLK during his famous " I Have a Dream," speech? The electric rebel who took his three chords and fed them back to his betrayed audience with a backfeeding grin of defiance in 1965? The country-esque crooner who tweaked his voice during his Nashville sessions? The man who found God in the '80s? Was he all of these or none of the above? The shades and former past lives of this same enigmatic artist we have loved for all of these years are channeled in the new Todd Haynes directed bio-pic I'm Not There.

There are many music fans out there who don't grasp the poetic master that is Bob Dylan. Just like many readers didn't fully comprehend the language and lyrical nuances of The Bard, William Shakespeare. To my ears, Bob is our nation's artistic counterpart. Like Shakespeare wrote plays that changed drama and literature as we know it, Dylan wrote albums and songs that inspired, shook and revolutionized the music we have always adored and love today. You see, understanding Dylan, is a rite of passage. You are not a real music aficionado until you appreciate the poetic power of Bob Dylan. Without him and his songs there would be a giant void in the sounds coming from our stereos and iPods.

Since 1960, there have been many covers of Dylan songs, some breathtaking like Hendrix's take on "All Along the Watchtower," and others not so good. You are not truly an artist until you honor the majestic poet that is Bob Dylan by covering one of his songs, and doing it right. To honor our greatest living singer/songwriter, Haynes had gathered some of the most influential artists of today to cover some of Bob's song for the soundtrack of his eclectic film.

The artists on I'm Not There do Dylan justice and do not disappoint. The soundtrack kicks off with killer version of "All Along the Watchtower" by Eddie Vedder and The Million Dollar Bashers. The Bashers are a musical dream team of today's best musicians, including Sonic Youth stars Lee Ranaldo and Steve Shelley, Wilco guitarist Nels Cline, Television guitarist Tom Verlaine, Dylan bassist Tony Garnier, guitarist Smokey Hormel and keyboardist John Medeski, all brought together as a backing to supply the magical rhythm track to Dylan's timeless muse. Through out this amazing disc, The Bashers provide the landscape for the singers to do their tributes to Bob.

There are two discs full of incredible performances, here, and I have my favorites, such as Sonic Youth tearing up The Basement Tapes outtake, "I'm Not There." Stephen Malkmus of Pavement fame, of whom I was never really a fan, shines brightly on his bluesy version of "Ballad of a Thin Man." Cat Power does her best female Dylan voice and seductively succeeds on "Stuck Inside of Mobile with the Memphis Blues Again." John Doe's trademark Golden State voice gives Dylan a fitting soulful treatment on "Pressing On." Calexico and Parisian Chanteuse Charlotte Gainsbourg come together on a graceful version of one of my favorite Dylan songs, "Just Like a Woman." David Mansfield's fiddle soars so beautifully along with Wilco's Jeff Tweedy's brilliant rendition of "Simple Twist of Fate." Mark Lanegan, the post modern Johnny Cash, brings a powerful elegance to "Man in the Long Black Coat." Calexico and Willie Nelson's Mariachi vibe of "Senor (Tales of Yankee Power)" is one of the soundtrack's standout and most memorable covers. But my favorite has to be Antony and the Johnson's stunning performance of Dylan's "Knocking on Heaven's Door." Antony's angelic vocal brings the Dylan's sacred lyrics alive with his faithful and modern day treatment of this Dylan classic.

So many performers to mention that a dissertation could be made on the CD and the film, which brings me to my only complaint of I'm Not There, of the artists who do not appear on the soundtrack. It would have been perfection to fit such luminaries like Ryan Adams, Conor Oberst and PJ Harvey on this soundtrack, but is this being greedy on my part? I don't think so, but in any case, I'm Not There will make the perfect gift this holiday season for the die hard fan or even the novice looking forward to take that musical journey inside the undiscovered country that is Bob Dylan.

In the film and soundtrack there are many faces that portray and bring to life on the screen and in song for I'm Not There, which goes to suggest that the myth of Dylan will outlive the man. The music and his message is what we will always remember. And when the day comes when he will not be there with us, his voice, his words and songs will still resound through all of us. I believe what Haynes is trying to say is that we are all Bob Dylan. Each one of us, man, woman and child, who listen to Dylan's lyrics become a part of the mythology. We personally piece together his puzzling lyrics by incorporating them with our own memories and lives by making these legendary songs our very own. Just like the artists covering his songs, we wear the masks of his melodies every time we sing his sons. And I'm Not There is the ultimate tribute to the artist who will always be here, there and everywhere, within us in the rhymes and rhythms of his eternal songs.

Adrian Ernesto Cepeda
11.26.2007

Review: Mick Jagger: The Very Best of...

My Mick Jagger review can be found (click here) on treblezine.com



Mick Jagger
The Very Best of...
Atlantic/Rhino
2007

Every fan knows that when it comes to The Glimmer Twins, there are two sides between the fences of devotion in Stones camp, Keith Richards or Mick Jagger— you like one more than the other, and never equally. I have always been a Keef fan. He's a more traditional straight shooter who tells you like it is. He's got a heart of saint and a soul of a sinner. He personifies everything that we want and need in the world of rock and roll excess.

But there's something to be said about Mick Jagger and his role as our favorite Stone. I got to give Jagger props; Mick's the guy who's tries to evolve the Stones sound into something more modern. There's Mick always incorporating contemporary rhythms with the classic blues vibe of our Rolling Stones. Keef is the old school bluesman who resists the temptation of adding modern jingles to the Stones. It's this electric dichotomy and difference in mindsets by these two musicians that make the Stones such a distinctive monster that won't ever go away.

This is the one aspect of Jagger that I respect the most. If it wasn't for Mick, The Dust Brothers wouldn't have worked their magic on "Anybody Seen My Baby" and "Saint of Me" on the under appreciated Bridges to Babylon. It didn't start there; just go back listen to the disco beats on 1978's "Miss You" and the percussive layered reverberations on 1983's "Undercover of The Night."

Jagger had been experimenting more since before sucking in the seventies as a solo artist. It wasn't until the eighties, during the much publicized sabbatical of his beloved Stones, that Jagger's solo career went platinum. This year brings a collection of his most beloved solo cuts on The Very Best of Mick Jagger.

Being on the proud side of Keef's camp, I preferred his solo LPs Talk is Cheap and Main Offender so, theoretically, I shouldn't like any of Mick's albums. But after revisiting his past output on this compilation I have to admit a lot of his solo recordings are creatively on the cutting edge and very rhythmically addicting.

Some of Mick's most familiar solo songs are here, like 1985's collaboration with David Bowie on the top ten single "Dancing in the Streets" to my favorite, 1983's "Just Another Night." The latter had been a radio staple I heard on the radio during my days growing up in Ann Arbor, Michigan. Walking around, this year with the festive sounds of the French Quarter around me, I had this song in my head during my vacation con mi novia in New Orleans. You can't but smile, dance and enjoy life whilst listening to a Mick Jagger song.

That's the way he records them—with the enthusiasm of a cosmic rock and roll dancer. He has to feel the beat as he sings to the songs live. Even while listening back to the playback, if Mick doesn't feel it, Jagger cuts the song again. He wants everyone to feel the vibe on songs like "Put Me in the Trash," from your feet through your soul. You have to respect the goal of an artist who wants to move you with his electric muse from afar.

Since I am a relative novice to Jagger's discography, there are some songs that I newly discovered on this CD. I enjoyed the rocking "God Gave Me Everything" with Lenny Kravitz on guitar. You can't help but get down to the "Undercover"-inspired, beat heavy "Let's Work." My favorite has to be the very elegantly beautiful ballad "Evening Gown," a piano-based and Americana flavored ode to growing old with his amor.

Look for some unearthed gems like the John Lennon produced and the very funky "Too Many Cooks (Spoil the Soup)." This one sounds like the perfect groovy theme song to an unmade action films from the seventies. I love the equally marvelous and flamenco flavored "Charmed Life" that features Mick's daughter Karis on backing vocals. If you were aching for some Stones inspired blues, look towards "Checking Up on my Baby" with L.A.'s Red Devils laying down the low down backbeats that will definitely cure your fix.

One of my favorite cuts is the Golden Globe award winning "Old Habits Die Hard." Written and recorded with ex-Eurythmic Dave Stewart, this song was featured in the much forgotten remake of Alfie with Jude Law. Unfortunately for Law, Jagger's song was the best thing about the movie. On" Old Habits" Mick perfectly brings out the authentic dreamy eyed unlucky in love romantic that's buried inside of us.

I have to say that the best song on The Very Best of has to be the classic "Memo from Turner" from the soundtrack of Performance. "Memo" reflects the true essence of Mick's solo incarnation. Throughout his illustrious solo career, Mick always had his soul in the past and voice set in eye of the future. Even without the Stones, Jagger has been making waves that will resonate alone with the sound smooth lyrical soul man. Listen as he lays down his killer vocals on songs behind these southern fried blues beats; he always finds the perfect rhymes to rock you in the morning, noon, night— and beyond.

Adrian Ernesto Cepeda
11.14.07

Review: John Doe: A Year in the Wilderness

My John Doe review can be found (click here) on treblezine.com



John Doe
A Year in the Wilderness
Yep Roc
2007

John Doe has the best name in rock, a term used to describe the identity of an unknown person. What we do know about this eclectic artist is that he was part of the original West Coast punk movement, along with his ex-wife Exene Cervenka in the seminal and mega influential band X, best known for their classic Ray Manzarek-produced debut album aptly titled Los Angeles. Los Angeles is the quintessential punk rock album, and because of the title track and the cover of "Soul Kitchen," put the City of Angels and John Doe on the map as innovators within a punk movement that was largely known for its origins in New York and London.

Aside from being a fan of his work in X and his stellar film and TV career (having appeared in Roswell, and guilty pleasure classic Road House), I am pretty much a novice of the music output of the man we know as John Doe. But I just got back into his music while on vacation after picking up a copy of the soundtrack to Todd Haynes' Dylan biopic I'm Not There. Mi novia and I listened to it on a daytrip to Austin, Texas, and as I was driving, at the beginning of every track I attempted to guess the artist singing each song. One of the few I got right was John's trademark raspy Western Country drawl.

As we drove into Austin, I remembered hearing about John's album, A Year in the Wilderness that was released earlier this year, which included duets with three of the past two decades' greatest female sirens—Aimee Mann, Kathleen Edwards and Jill Sobule. Because of Doe's trademark performances on I'm Not There, I couldn't help but dig into Wilderness.

For some reason, I expected Wilderness to be a Western Blues album in the realm of Mark Lanegan, but unfortunately Doe's not that kind of singer. While Lanegan's vocal is more in the traditional old country style of Johnny Cash with a gothic vibe, Doe has a rough and tough voice, which is coarser and not as elegant. Not that it's bad thing. In fact, Doe's rock-country roots come through clearly as he sings "You are the hole in my head" in seminal cut "The Golden State," the first of three collaborations with Canadian singer Kathleen Edwards.

I actually prefer the acoustic-tinged harsh beauty of "Darling Underdog" written with his ex-wife and bandmate Exene. You hear Doe's exquisite lyrics as he achingly sings "When I thought I could fly/ you became my sky." Listen to Doe sing with Edwards, "Just a little more time with you and me" on "A Little More Time." Edwards returns this time, singing perfect harmonies and dual vocal duties throughout this song about a longing love that lingers but will never return.

The song that I was pining to hear was "Unforgiven," Doe's duet with Aimee Mann. This is where Doe's rock roots come through loud and clear in this upbeat heavy, riff-layered number that sounds like a love song with slight punk overtones. I love the lyrics: "If I had one wish/that one wish would be/ some day I could raise my face to eyes that loved me."

A full-fledged rocker follows in the very addictive "There's a Hole." Doe sings without bitterness, "Oh baby there's a hole in the neighborhood since you are gone." With lyrics like this, you will hear John Doe's message resonate throughout. The theme of Wilderness is heartache and loneliness. You hear it and it's not as painful as, say, listening to a Ryan Adams or Bright Eyes album. I love them both, you see, but there's something about Doe's voice, a hint of faith and hope, kind of like being lost on the road of life but seeing a sign or star in the sky that keeps you going. John Doe is not country, not rock, not folkie and far from his punk incarnation of his past. If you're looking for the young punk from X, you have come to the wrong album. He still rocks but Wilderness is, more importantly, the sound of man on a journey of identity.

(Note: with purchase of A Year in the Wilderness you get two free downloads from the Yep Roc website. John Doe's killer cover of Joni Mitchell's "A Case of You" and an awesome acoustic version of "The Golden State.")

Adrian Ernesto Cepeda
11.12.2007

Review: R.E.M.: R.E.M. Live

My R.E.M. review can be found (click here) on treblezine.com



R.E.M.
R.E.M. Live
Warner Bros
2007

The first time I saw R.E.M. live in concert was during their 1989 worldwide Green Tour. Even though I was grounded every other weekend during my senior year at Winston Churchill High School in San Antonio, Texas, somehow I convinced my parents to let me go to the show. I had some classmates of mine buy me a ticket, eighth row seat for fifteen bucks. (The price of that same ticket today might go for $50 to $150)

I had seen Midnight Oil in a small club but this was my first official big rock concert and what a show it was. Three hours plus with multiple encores, which included Michael Stipe and Mike Mills singing an a cappella version of " Moon River." They played "We Walk" from Murmur, the cover of Pylon's "Crazy" from Dead Letter Office and of course "The One I Love" from Document. If I had just seen this show it would have gone down as one of the best rock concert experiences ever but something else happened that night, after the show which changed my life, for the better, forever.

After the concert, my buddy George and I passed upon some groups of fans who were hanging out by the buses waiting to see any members of R.E.M. emerge. We saw a glimpse of geeky Mike Mills from the distance; this was before he transformed into the cool version of himself during the Monster years

Five minutes later out of the shadows, with a bottle of Jack Daniels under his arm, comes Michael Stipe. He was very short, a shy but sweet figure. I felt like I was dreaming as one of my heroes stood in front of my very eyes. I was the first one to speak as I we had a short conversation, a mini interview about Sting, whom I was a big fan of during those …Nothing Like The Sun days. I asked if he supported Sting's campaign for Greenpeace because I had read some animosity towards Mr. Sumner, as these were the days when he was being lambasted in the press for his overexposure of his causes to save the earth. Stipe responded he supports anyone who does work for Greenpeace.

After a few minutes, Stipe refused to sign autographs but he did shake all of our hands. Michael was the perfect Southern Gentleman. As I went home, stayed up all night and listened to all my R.E.M. tapes. I wrote a letter to the editor of our home town paper about my experiences that night. A few weeks later my letter was printed. Even though I had been writing my personal Star Trek fan fiction since age seven, this was the first time I had seen my name in print. At that moment, I knew that I wanted to be a writer. That one night, going to a rock concert and meeting one of my heroes, changed my life.

This one moment went through my mind as I listened and watched the 2007 edition of R.E.M.'s Live CD and companion DVD. This live show was recorded in Dublin, Ireland home to R.E.M.'s musical compadres U2 during their Around the Sun tour. The set-list showcases many songs from that misunderstood album Around the Sun, but there are a few classic treats thrown in for us die hard fans.

The disc starts off with the Monster riff from "I Took Your Name." An interesting choice of opening tracks that contains one of my favorite Stipe lines, "I don't wanna be Iggy Pop but if that's what it takes." The release of this concert set reveals to the world that even though R.E.M is getting older, they're far from being dinosaurs; these guys have aged like a Cabernet...er, one that can rock you off your seats, with Peter Buck's timeless chord changes that ring truer than ever before on this stage in Dublin. R.E.M. keep the frequency cranked up during most of the show with the inclusion of "Orange Crush," "Bad Day" and a killer version of "So Fast, So Numb" from New Adventures in Hi-Fi in the set.

Some surprises are the addition of the laid back, slower styled version of "Drive" from Automatic for the People. This one differs from the amped up live edition that they played on the Monster tour that was even featured on the Greenpeace compilation Alternative NRG. I particularly love the version of Life's Rich Pageant's "Cuyahoga." Even though the politico lyrics of "Let's put our heads together and start a new country up" ring truer today, the lines "Take a picture here, take a souvenir," mirror the release of the CD.

This is the first R.E.M. live disc in their history and for fans like myself, it's been a long time coming. I would have loved to have heard a show from their heyday as a four piece powerhouse, but this new incarnation of the band, which includes former Ministry drummer Bill Rieflin, marks a new evolution of the band that I have grown up with since those days of Green and before.

I don't love everything about R.E.M. Live, however. The DVD is very disappointing. Director Blue Leach attempts to modernize some of his quick action cuts for the young kids who weren't even born when R.E.M. first became a band in Athens, Georgia circa 1980. Even though R.E.M. has evolved since then, they are not the stylish upstarts that deserve this kind of super gloss. R.E.M. has always been about substance over style, just listen to the mirrored chorus on "The One I Love" Unfortunately, the quick MTV style cuts that annoy me so much appear during the louder numbers like "I Took Your Name." Leach does finally lay off of the jump cuts on the slower numbers, but by then I was reaching for a dose of Dramamine.

The DVD tries to recreate the R.E.M. live concert experience and, because of Leach's ADD-style editing, fails. R.E.M.'s edition is a proper live document. I recommend shelving the DVD, listening to the CD and buying a ticket to see them sometime in 2008. The problem with live albums is that they try to capture the essence of a band on stage. Some records like Bob Marley's 1975 Live album is one of the many classics by which concert albums are held up to. This one strives for that greatness but R.E.M. Live misses that high mark. Even so, this album is a worthy edition to your collection of R.E.M. albums.

If you're a die hard R.E.M. fan you will want to pick up this Live CD for the inclusion of the never released "I'm Gonna DJ." It's a short urban rock blast that has Michael rapping, wanting to "DJ at the end of the world." Another surprise gem is the Mike Mills lead vocal on countrified classic of Reckoning's "(Don't Go Back to) Rockville." I love the way that the album ends with the now live staple and classic "Man on the Moon," a song about reminiscing about the past, which is something I can't help but do as I listen to this live document.

Adrian Ernesto Cepeda
11.08.2007

Review: Thurston Moore: Trees Outside the Academy

My Thurston Moore review can be found (click here) on treblezine.com



Thurston Moore
Trees Outside the Academy
Ecstatic Peace
2007

I remember "borrowing" my Papi's car and taking a few of my friends on an adventure up I-10 from San Antonio to Austin, Texas's Auquafest in the early '90s to go see The Escape from New York Tour featuring The Ramones, Debbie Harry, Tom Tom Club and Jerry Harrison all for eight bucks. The soundtrack for our adventure was my favorite Sonic Youth album Goo,. I realize looking back to that moment as I drove with my windows opened, wind in my hair with Goo blasting through the speakers of my Papi's car that, in my heart, Sonic Youth defined the essence of freedom and expression. They are the Beat Generation, Avant Garde, the Punk and DiY movements all rolled into one chaotic blend of beautiful feedback.

Thurston Moore has always been the essence of cool to me. He had the coolest wife, Kim Gordon, and they have the ultimate marriage built on love, devotion and complete creative inspiration and fulfillment. Plus they have the coolest kid, Coco,, and they are in one of the most influential American art rock bands of the 20th Century. Now that's a life! The thing that I respect most about Thurston Moore is that he and his band have done it their way. They have never compromised Sonic Youth's sound and vision to appease the mainstream. They continue to break the rules in the establishment's playbook for success, and release cutting edge works of art that sound like the beauty and color of a Jackson Pollock painting coming to life.

In 1995, Thurston released his first solo album, the much under appreciated Psychic Hearts, which was a continuation of the Sonic feedback sound that they made famous on the landmark album Daydream Nation. This year, Moore unplugged his favorite electric guitar and turned toward a direction as he tackled the acoustic guitar in Trees Outside The Academy.

Don't worry Sonic Youth fans; Thurston Moore hasn't gone Acoustic Alchemy on us. In fact the opening number "Frozen Gtr" has a Velvet Underground vibe. Listen for the back feeding strings in the background, which echo White Light/White Heat. The song goes into a Nirvana unplugged vibe which sounds eclectically electric. Speaking of, Moore hasn't completely unplugged his favorite amp. There is some electric guitar in the mix courtesy of his good friend and Dinosaur Jr. leader J. Masics, but this is mostly an acoustic effort with the powerful brilliance of Thurston's trademark riffs that you know and love so well.

While Psychic Hearts was an ode to the experimental art guitar thrashing of Thurston's idol Yoko Ono, You can hear the influence of his heroine Patti Smith throughout Trees. Smith has always found away to keep her voice loud and raucous even during the most elegant of backbeats. Moore sounds soulful with his acoustic guitar. I love the way he blends the acoustic and electric to bring to life a quiet/loud vibe that's reflective and potent in the same song as in "Shape in a Trance."

The lyric that best describes this album is from "Honest James" when Thurston sings, "he rolls into the darkness and he needs you to be near." It's as if Moore is admitting that he carries the baggage of his electric past but he wants you to listen closer. Moore is far from a one trick pony; he embraces the acoustic guitar into his arsenal and has created a very moving album about life, loss, love and reflective devotion.

Moore still uses feedback as an introduction to "Fri/End" like a painter uses color from his pallet as texture to give his canvas a more complete sound. I love his use of strings through out. Listen to way he combines the texture like riffs along with the string arrangements that echo the experimental yet extraordinary nature of the Kronos Quartet.

The album ends with a special bonus, a track featuring Thurston Moore age 13. It is a recording of Moore spraying Lysol around the room. You can hear the imagination of this youngster who's making noise into art, something that Thurston and Sonic Youth have perfected during their still active and engaging career. Trees is a new side of Thurston Moore that is sonically more intimate yet still has that trademark artistic rawness that we have loved from this experimental axe-man. What you are about to hear is someone embracing his roots with a new musical weapon that's elegantly commanding you to crank it up.

Adrian Ernesto Cepeda
11.07.2007

Review: Babyshambles: Shotter's Nation

My Babyshambles review can be found (click here) on treblezine.com



Babyshambles
Shotter's Nation
Astralwerks
2007

It's been a long time; it's been a long, lonely time in the life of Mr. Peter Doherty. The man has been through heartache courtesy of a dame named Moss, he was kicked out of his first band The Libertines and suffered through much publicized trials and tribulations of his never ending never ending drug habit. Throughout these troubled times, the main ingredients to Doherty's magical muse has been missing. What happened to the poetic brilliance in his music that I have loved since his good old days as a Libertine?

Doherty's output since his oust of The Libs has been good, bad and everything in between. Peter seems to create three minute pop gems like "Killamangiro," "For Lovers" and "Beg Steal and Borrow" but when it comes to full-length albums with Babyshambles like Down in Albion, the results are frustratingly lacking. And this is from someone has dubbed Peter Doherty the savior of modern rock and roll. What we have heard from this reluctant liberator of rock is shades of greatness but leaves me waiting for the potential greatness he has harnessing inside of his tortured soul.

I have to admit for a while there I gave up on Pete Doherty. I have serious problems about rock stars that make the news for anything but the music they create. But it's not just his live fast, get high and arrested reputation, but for me there were also personal reasons, from a former flame that shall remain nameless, that was keeping me from listening to musical output of his addictive soul.

I had heard that Pete was in the process of cleaning up his act again and had hired former Smiths and Blur producer Stephen Street to helm the sessions for his latest album. Nothing heals like the time and rhythms of music. So after hearing the news, I decided if I can forgive Morrissey for standing me up me and a legion of fans at a show, once upon long ago, in Austin, Texas that I know I can give Peter a second chance.

Just like old times, I actually went out to an indie record store in Pasadena to purchase Babyshambles' Shotter's Nation. Any fear or doubts I had about the abilities of Peter Doherty have temporary ceased for Shotter's is 44 minutes of righteous rhythms and memorable muse. It's not perfect but you can hear how the work of Ex-Clash member Mick Jones failed miserably on Down in Albion. Street did Pete right by capturing the true artful soul of Doherty his band.

Things start off slow—"Carry Up the Morning" is probably the weakest track on the record. One of the problems that I have found with the `Shambles is that Doherty's words are perfectly stripped down only with his acoustic guitar. That's essentially what was wrong with just about all the music on Down in Albion save for "Fuck Forever" and "Albion." The band sounded flat.

Nevertheless, things pick up with the first single "Delivery." Now this is the song that actually should have started off the album. It has the spirit of The Libs with a new found spark that Doherty has encountered on his days and nights of excess. Most of the songs deal with turmoil, abuse or lovesick woes.

Think of Shotter's as Albion blues with pop purity courtesy of Babyshambles' brawn and Doherty's unique view on life. He may be down and out but there's hope in his voice and lyrics. He's the anti-hero who never gives up. Listen for the guitar riffs and mighty beats on "You Talk" and especially on "Deft Left Hand." The mixture of those stellar sounds with Doherty's melancholy musing, "Destined to drone in a monotone on your radio is a dream of mine," is the perfect blend of post modern pop that I have been longing to here from this poet. Some songs like "French Dog Blues" have been available for a while as demos but the finished versions bring out a new light on the group's sound. On songs like "Baddie's Boogie" they sound tighter, more refined, classic and nouveau in the same beat.

Two songs personify the greatness of Pete and Babyshambles, namely "There She Goes" and "The Lost Art of Murder." The later is an acoustic classic with Bert Jansch trading licks with Pete, as Doherty lays down his aching vocal "You call yourself a killer but you're only killing time." These words reflect the truth behind the last few years of this troubled troubadour. "There She Goes" has a "What Katie Did" like backbeat with Doherty's soulful vocal. Make no mistake, this lover and fighter is back from the ropes with an album worthy of his name and his legacy.

Does anything on Shotter's best anything from Up the Bracket or The Libertines? Close, but that's not the point. It's like asking of any album from Harrison, Lennon or McCartney topped any work that the Beatles did during their lifetime—of course not. Unfortunately when you become an artist like Doherty has, everything you do will be compared to the outstanding output of your past glories.

At least Doherty is on his way back on the road to immortality. On "The Lost Art of Murder" Pete sings, "Do you think they'll change their minds?" You changed mine. All I ask is to lay off the excess and continue down your path of greatness with that timeless voice as heard on the beautiful "The Lost Art" that I know and have adored for so long. I missed you mate, it's good to have you back.

Adrian Ernesto Cepeda
10.29.2007

Review: Truly Great Album Series: Radiohead: Amnesiac

My Amnesiac review can be found (click here) on treblezine.com



Radiohead
Amnesiac
Capitol
2001

"After years of waiting/ nothing came..."

These are the first confusing words I heard by Thom Yorke circa 2001 from "Packt Like Sardines in a Tin Box" on the follow-up to my favorite Radiohead album, 2000's Kid A. I loved that album; it came out during my first year living in New Orleans, and my neighbors, friends and I would sit up all night long listening to it, discussing it and analyzing it while drinking and getting high. Kid A always equates to a year of happiness and freedom.

In contrast, Amnesiac reflects a numbed feeling, expressing emotions of confusion, anger and doubt while questioning our lives, our future and present unwrapped in a state of fear and uncertainty, which would come to a climax months later on September 11. Just listen to the lyrics from "Packt": "As your life flashed before your eyes, you realize/ I'm a reasonable man/get off my case, get off my case."

Yorke spoke of the recording sessions for Kid A that ultimately became Amnesiac: "It goes off in two ways. One is like very broken machinery (Kid A). The other is really fat and dark (Amnesiac). I played one of the songs to Björk and she said it sounded like I'd just seen something really frightening, then gone and written about it. It's sort of bearing witness to things."

This is not an uplifting album at all, not that Radiohead ever wrote shiny happy lyrics. But to hear Amnesiac is to hear the soundtrack to a lost generation living in 2001. Thom Yorke has described Amnesiac as being "the sound of what it feels like to be standing in the fire." Just listen to lyrics like "Jumped in the river, what did I see?" on "Pyramid Song" which, to me, has the vibe of a funeral procession. Listen to the piano keys that Thom plays like a loop over and over again as he sings, "All my lovers were there with me/ all my past and futures/ and we all went to heaven in a little row boat."

The next song, "Pulk/Pull Revolving Doors" sounds like what Radiohead imagines what life in a coffin would be like: "There are doors that let you in and out but never exit..." It's as if Yorke is singing a warning to those deeply lost and thinking of breaking through this mortal coil. The sound of the afterlife brought to life by Radiohead as Thom sings, "...there are trap doors that you can't come back from." The drums and beats actually sound like they are beating down on a sardine can, very metallic and cold mirroring the coldness of Thom's lyrics.

"You and Whose Army?" is one of the finest songs that Radiohead played live when I saw them in New Orleans. I could tell that Thom loves playing that song, as he sat at the piano singing the songs, twirling his fingers in the air, inspiring us to get up and stand up for our rights. This is a call to arms song. It's the same song that Thom loves to dedicate to George Bush. One of the best songs of the album, it's one of my favorite from the Radiohead canon and reflects the turning point of Amnesiac. You could say that this is where the band wakes up, lights the spark for the revolutionary promises that they continued in the songs and sounds of Hail to the Thief.

"I Might be Wrong" is next and the song closest to the Kid A vibe that I loved so much, reminding me of the funky beats of "Idioteque." "There was no future left at all/ I used to think/ Start again, begin, again." The lyrics tie in the emotions that Thom sang about at the beginning of the record with the positive spark from "You and Who's Army." The death theme comes back stronger than ever in "Knives Out." I do love the first line, "He's not coming back." But then it turns into a cannibalistic paradise of murder and loss that only Thom and Radiohead can bring to life. This disturbing yet catchy song is the most traditional sounding of all on Amnesiac and is also a live favorite.

"Morning Bell" is the only song that truly links Kid A to Amnesiac. I imagine that if Thom and the band had followed their original plan by releasing both records together as one double album, a-la The Beatles' White Album, this song would be Radiohead's reprise or slight return, if you will. Speaking of The Fab Four, Thom name-checks The Beatles song "Yer Blues" on "Dollars and Cents," the song's themes dealing with the effect that currency has on our lives. Money is as a weapon used to "crack (y)our little souls." As you may recall, after 9/11 Bush told us to go spend money. In other words, get yourself into debt and become slave to credit companies.

"While you make pretty speeches/ I'm being cut to shreds" is a reference to all the words spoken by both Bush and Tony Blair. "And this just feels like spinning plates/ I'm living in cloud cuckoo land." Like Dylan, Morrison, Lennon and McCartney before him, Yorke captures our life in chaos perfectly. When someone plays Amnesiac in the future and hears those lyrics, they will realize that Radiohead perfectly bring to life the experience of being alive during one of the most turbulent times in our world's existence.

Amnesiac doesn't end with a bang but more with simply vivid song evocating the sound of a New Orleans funeral song. Whenever I hear "Life in a Glasshouse" it always brings me back to the 504. It sounds like a Deep Southern procession but listen closely as Yorke foreshadows the loss of our freedoms and rights when he sings, "Well of course I'd like to sit around and chat, only, there's someone listening." I hear this song as a death to our personal liberties. Thom brilliantly uses images of a friend being blinded by lies as she puts on a smile, life in a glasshouse. Thom wants us to shatter the glasshouse with truth, but with fear of retribution, his friend is afraid of speaking up because she fears that someone is listening. This is a beautiful yet haunting song that leaves us pondering not only the future of our favorite band, but also the current state of our very own lives.

For these reasons, to me, Amnesiac remains the most underrated album in Radiohead's history. It was the one album that I had the hardest time listening to. I now realize that Thom was speaking the truth about the beginning of a new world of mistrust, deceit, apprehension and disillusionment with the world we were living in at that confusing time. This is a brilliant album and with the release of In Rainbows, besides Hail to the Thief, Amnesiac is the one that I keep coming back to. There's beauty here, loss also lives within the scared sounds of Amnesiac. Don't be afraid, this album is like looking in the mirror and getting lost in the sound and reflections of a misplaced treasure filled with songs from a time of chaos, uncertainty and doubt.

Adrian Ernesto Cepeda
10.25.2007

Review: Various Artists: About A Son: Music from the Picture Soundtrack

My About a Son review can be found (click here) on treblezine.com



Various Artists
About a Son: Music from the Motion Picture Soundtrack
Barsuk
2007

In Everett True's incredible book called simply Nirvana: The Biography, he writes about how The Ramones have been co-opted by the mainstream. And he's right, everyone wears a Ramones shirt now a days. I, myself, saw this past weekend an affluent, Beverly Hills divorcee sporting a Ramones t-shirt the other day, and I would bet she couldn't even name a member of the band. True's point is that no one in the rock establishment wears a Nirvana shirt. They have been dismissed and overlooked by everyone except by the kids. The teenagers are the only ones who sport Nirvana shirts because in True's words, "the kids understand."

Unfortunately, the movie About A Son and its soundtrack may not be for the kids. They may not get it. The sad thing is that many might not see this amazing film that only shows one picture of Cobain at the end. This movie and this soundtrack is not an MTV rockumentary about the rise and fall of Nirvana. All you have to do is click on YouTube or watch classic VH-1 or MTV to watch Cobain smash guitars on stage and see clips from all of their videos. About A Son is not that sort of film.

Think of About A Son as Imagine: John Lennon meets Koyaanisqatsi. The Imagine movie had John Lennon narration throughout. But unlike Lennon's docu-film which shows performance footage throughout his life, Son is has more a Koyaanisqatsi picturesque feel. Koyaanisqatsi means life out of balance and the film showed images of cities and natural landscapes of America. Cobain's narration and the beautiful shots of every day American life makes this film more than a visual tone poem, and while listening to the soundtrack you will hear that About A Son, is a discovery inside the mindset and life of a creative artist who was a working class hero, just like you and I.

The soundtrack CD mixes Cobain's narration with bands that Kurt admired and original music composed by Death Cab for Cutie singer/lyricist Benjamin Gibbard. Listening to this CD, one gets the feeling this is the type of soundtrack that Cobain would have loved. He probably wouldn't have enjoyed listening to voice in between most of the tracks but the selection for the bands would have been to his liking. Everyone from The Melvins, The Butthole Surfers, Iggy Pop, R.E.M. and Bowie are included on this soundtrack. This is the perfect Under The Influence-like mix CD that speaks the all of the artists whose words and music inspired the voice of our generation.

Some of Cobain's favorite songs are on here, including "Man Who Sold The World" by David Bowie and "Son of a Gun" by The Vaselines in their original incarnations before Kurt and Nirvana famously covered them during their magnificent career. After listening to the final strands of Gibbard's hauntingly beautiful cover of Beat Happening's "Indian Summer," you will be compelled to see this amazing film. I know I will be there. This soundtrack is more than homage to Kurt Cobain. Listening to the disc makes me want to go unfold and put on my Nirvana t-shirt, proudly, as a tribute to the one we knew and loved and the unfinished legacy he left behind.

Adrian Ernesto Cepeda
10.15.2007

Review: Múm: Go Go Smear the Poison Ivy

My Múm review can be found (click here) on treblezine.com



Múm
Go Go Smear the Poison Ivy
Fat Cat Records
2007

When one thinks of the ever eclectic Icelandic music scene three artists come to mind: Bjork and her original band The Sugarcubes and of course, the band that makes grown men weep because of their eccentric beauty, Sigur Rós. Yet one of the most underrated bands from Iceland that you may have heard, though not necessarily by name, is Múm. Honestly, before a few years ago I didn't know who the hell Múm were either. But this all changed when I saw the movie Wicker Park. There's a particular scene in the movie when Matthew, Josh Hartnett's character, follows Lisa, the girl of his dreams, to her dance recital. During this recital, we see her dancing to the elegant splendor of "We Have a Map of the Piano" by Múm. Hartnett watches Lisa as Kristín Anna Valtysdottir sings, "please don't float so far." The vocal echoes the yearning inside of Matthew and how he feels from a distance; it's the perfect blend of music and film. It was as if "We Have a Map of the Piano" was written for that scene. It wasn't but watching Lisa dance in front of you, you'd think otherwise.

Múm is more than a soundtrack band, a-la The Fray, however, having recorded a plethora of albums, including 2002's magnificent Finally We are No One. For those of you familiar with Múm's trademark minimalist electronic sound, you will notice a change from 2004's Summer Makes Good. Now with Go Go Smear the Poison Ivy, there's a shift to a greater use of live instrumentals and less of a focus on electronics. No worries, the trademark tenderness of Múm is still there, they just have expanded their pallet with new shades to color their soundscapes with more infinite beauty.

I love the addition of horns in the opening number over the toy piano keys in "Blessed Brambles." The little organic sounds that Múm is infamous for are still prominent throughout that keeps the trademark vibe, but now with the live instruments we get a little bit of powerful substance over their stylistic overtones as you will hear throughout Poison Ivy. It's fantastic how they start off a song with one sound like the accordion on track two, " A Little Bit Sometimes," and grow from there, but bit by bit as they slowly add drums, keyboards and vocals in layers, the song is like a painting coming to life. Múm didn't give up the electronics altogether, they just aren't as reliant on the sequences as they were in the past. Listen to "They Made Frogs Smoke 'Til They Exploded" and your worries will be at ease. The song starts off with some childlike sampling and electronic resonance and builds with exploding percussion that will grab you and have you dancing in an instant.

If something seems missing, well, it is—founding member Kristín Valtysdóttir is no longer with the band on this album. She was one of my favorite members of the band, but not to fret, Múm is a collective who's not defined by one member. Poison Ivy is my favorite album of Múm's, as they have evolved into a proper band who doesn't need electronics to create their unique sounds, and sound livelier than ever. Just listen to my favorite track, the jazzy flavored "I Was Her Horse." They add a new level of humanistic intimacy that lifts their trademark sound into deeper substance to be felt by all who enter inside their world of music and wonder.

That's what I adore about Múm; to me, they are the soundtrack to our hopes, dreams and imagination. What sets them apart from fellow country mates Sigur Rós is that Múm actually sing in English, rather than the fictional "Hopelandic." You can understand what they are saying and their amazing rhythms take you to a place beyond consciousness. Múm's Go Go Smear the Poison Ivy lifts the listener up, inside and all around, with trippy rhythms worth revisiting over and over again.

Adrian Ernesto Cepeda
10.08.2007

Column: Good Fortune: An Interview with Kyle Keyser

My Good Fortune interview can be found (click here) on treblezine.com


Good Fortune: an interview with Kyle Keyser

by Adrian Ernesto Cepeda

10.03.2007

While doing research on Polly Jean Harvey, I discovered this little film that could, made in 2001 by diehard fan, Kyle Keyser. During 2001, Kyle Keyser just wanted to follow his favorite singer Polly Jean Harvey on tour in Europe. What he didn't know was that this one idea would change his life. I watched, in a span of over an hour of Kyle's documentary, Stories from the Road: A Film About Following PJ, how he transforms from a fan into a filmmaker. Of course, it sounds more complicated than it sounds and it was.

The film begins with Kyle convincing Polly Jean's label, Island, that he and his two friends Amanda and Bill were filmmakers. Kyle sends them a proposal and they buy it. The first half of Kyle's road movie shows is shot with a shaky handheld camcorder shots a-la MTV's Real World. The first half of the movie reminded me of the behind-the-scenes fan exploits that I remember seeing in D.A. Pennebaker's film Depeche Mode 101. That same film chronicled the exploits of a handful of friends following their favorite band on tour down Route 66.

Stories from the Road's opening footage documents the troubles these amateur film sleuths find in making a full-length documentary. These scenes, which have the feel of three friends on a Euro-trip, are actually Kyle and his buddies learning how to be filmmakers. They are quick studies and by the last stop of Polly Jean's date in Lisbon, they've learned the ropes and are ready to get the ultimate footage, but she unfortunately cancels the rest of the tour due to illness.

Film over right? Wrong. It turns out that Polly has scheduled some American tour dates, so after his troubles in Europe, Kyle gets organized. He takes the footage that he and his two friends shot in Europe, creates a two-minute trailer, and sends it to Polly Jean's label for permission to shoot footage on her American tour. This time he contacts Polly Jean's tour manager and the movie begins to take focus. It less backstage, behind the scenes tomfoolery and more focused dedication on filming PJ Harvey.

By this time in the film, there is a major change in Kyle. He was no longer the naïve fan shooting for fun, though I love the live footage that he shot in the States. In America, Kyle and Amanda got unprecedented access to Polly Jean's soundchecks. The movie caught fire with Kyle's goal of meeting and interviewing PJ Harvey. A few things get in the way, even though, fate tries desperately to help Kyle complete his quest of meeting his heroine and idol, though you have to watch Stories from the Road to find out exactly what happens.

Alas, the movie is less about Polly Jean Harvey and more about the rebirth of an up and coming creative artist, Kyle Keyser. By coming up with this amazing and clever plan of getting a record label to allow him to film his favorite artist, Kyle has become a full-fledged filmmaker. The ultimate theme of Stories from the Road is dreams do come true. You can find your true calling in life by taking a risk, a chance it could change your destiny forever, just ask Kyle Keyser.

There's a backstory to this amazing adventure. One of the things that I found missing in Kyle's film is that I never got a sense of why he was following Polly Jean Harvey. For this and other stories on his incredible journey, I asked filmmaker Kyle Keyser on his experiences on the road, following Polly Jean Harvey.

Treble: One question you never addressed in the film was why Polly Jean Harvey? What is it about her music that drew you to create this movie?

Keyser: I've always been a passionate music fan. I just connected to Polly right off the bat. I was living in England and I remember seeing her face splattered on magazines over the newsstands at the time Rid of Me came out. I loved that album. It was dark, bold, and powerful. She was a badass with a guitar and an Indie diva in her own right. So of course, I was hooked.

Treble: Through out the first half of the film, after the debacle of the canceled tour dates did you ever consider giving up finishing the film?

Keyser: Yes, in fact I thought the film was over. I actually came back and got super depressed about the whole thing. I was wallowing in cosmic confusion. It was only when she announced new tour dates for the US did I know I had a chance to finish it. So I contacted her manager again and asked to finish it in the US. She agreed. So we were off.

Treble: I really enjoyed the live footage were those shots the hardest to shoot?

Keyser: These shots were definitely the shots that had the most pressure, so yes. Especially with me not knowing what I was doing they were exceptionally difficult. I got it in the end though. And a better editor helped.

Treble: I noticed a change in you, during the course of the film, going from fan to actual filmmaker? Did you yourself feel this change while making the film?

Keyser: It's funny you say that because others do as well. It's certainly not something I knew at the time. If anything I was becoming antsy because I felt this increasing pressure to meet Polly with decreasing opportunity. So no, I didn't really have the mind space at the time to think about being a filmmaker. I seriously just wanted to meet PJ Harvey.

Treble: Any regrets on not meeting Polly Jean during the filming process?

Keyser: When I got back from the whole trip I felt another huge sense of disappointment much like after we first got back from the first tour in Europe. I didn't really know what I was going to do with the film. I thought, "How am I going to make a movie about NOT meeting PJ Harvey?" But then it struck me... that's the story.

Once it was done I realized that it was actually the best thing possible. Every piece that depressed me along the way ended up making the film so much stronger. It's such a true, honest story. I really think all the fuck-ups and missed opportunities along the way are the key to the film's success.

Treble: Why haven't we seen the film in theaters? What happened?

Keyser: I received permission to shoot the shows from Polly's management company and received preliminary permission to license a few tracks from, her record label, Island Records. After finishing the film I approached everyone again, this time with a list of 13 tracks to license, and they balked. I also didn't realize I needed to involve her publisher, EMI. They didn't even know about the project. They rejected me flat out. No one else from Polly's camp came to my aid. So after getting my attorney to fight it and really struggle, they never budged. My response to that was premiering it at the London Lesbian & Gay Film Festival (LGLFF) anyways (one of the biggest festivals in the UK ). It got great reviews that were great but ultimately just drew attention to what I'd done.

Just after that I also had a big U.S. premiere at the Atlanta Film Festival but things were getting sketchy. Right after London both The LGLFF and I received letters accusing us of copyright infringement. Since I told them my film was legit, the festival deferred to me. It was a risk showing it one more time in Atlanta but I went for it. There was a lot of local buzz. I showed it but it was for the last time

Treble: Have you tried to secure the song rights?

Keyser: I haven't pursued it officially since the first time. I think it might be possible but there would need to be money involved. And I certainly don't have any.


Treble: Has PJ seen the final cut of the film?

Keyser: I think she has, yes. I sent both her manager and record label copies. Maria Mochnacz, filmmaker who's done PJ's video, heard about it just after the premiere and contacted me for a few copies. I went to her office and dropped a few off. She insisted she'd help me get the rights once she'd shown it to Polly. She was enthusiastic to talk with me until, one day, it was dropped. No more contact. I'd assumed PJ had seen it and didn't like it.

Treble: Any regrets to all that has happened?

Keyser: Not one. It was an amazing experience and it set me on my current path as a filmmaker.

Treble: Have your feelings for Polly Jean changed through the course of filming and your experiences after trying to get the film shown?

Keyser: Yeah, I hated her for a while after all the legal troubles. I really wished she would have just come to my aid but she never did. Since, I've outgrown it. I actually like the cult-ish following about the film. She actually did me a huge favor every step along the way.

Treble: What are you doing now?

Keyser: Right now I continue to make movies. I have a few TV concepts I'm fleshing out and hoping to sign a deal on soon.

Treble: Any chance we will ever get to see, the promise you hint at the end of your film, you following around Rufus Wainwright?

Keyser: I toyed with the idea but decided no. I wasn't going to be "that guy" who followed people around. I actually got to meet Rufus at a show in Athens after coordinating through his management. I was able to give him a copy of the film and told him to look out for his reference in the end. Who knows if he ever saw it?

Treble: Are you looking forward to Polly Jean's new album, White Chalk? Have you heard any new tracks?

Keyser: I like it. It has a very fall sounding vibe. It's not the `in your face' Polly that we all know and love. She doesn't even play guitar on it, just piano but I still really like it. Polly is an artist even more than she's a musician I think. She craves re-definition and challenge. This is her journey, not ours. And White Chalk is one point in that evolution as an artist.

Treble: You capture some amazing footage of 9/11 in D.C. How was that time there? It must have been chaotic. (I love the way you blend "The Mess Were In" with the 9/11 footage, Brilliant and powerful.)

Keyser: Thank you. It's a powerful, surprising moment. I seriously get chills every time I see it again. That was how I experienced 9/11 from that hotel room, listening to that television. Watching the smoke coming from The Pentagon brings back a lot of strong memories and emotions.

Treble: It seems that the film starts off as like a joyride and turns into a serious journey, kind of like life, wouldn't you say?

Keyser: You could say that. It's definitely a journey that evolves organically, running with the twists that get throw to you all along the way. Who would have thought all that would have ever happened? But seriously, who would have ever thought – when I started the whole thing – that I'd be premiering the film in London two years later to a sold out crowd of 450?

There's something to be said for just getting up and just doing it, folks.

Treble: Any chance the Stories from the Road will ever get released on DVD?

Keyser: I guess the answer to that question lies solely with me. I'll just have to continue to work hard and try to make it. But who knows, stranger things have happened, right? One day...

* For More information about the film Stories from the Road: A Film About Following PJ Harvey, please visit www.followingpj.com

Review: PJ Harvey: White Chalk

My PJ Harvey review can be found (click here) on treblezine.com



PJ Harvey
White Chalk
Island Records
2007

"When I grow up" is a mantra that many of us have heard and said throughout our years and it's a statement that has shades of fallacy. Do any of us really know when we have truly grown? What about an artist, someone who ages in front of our very eyes and ears do their evolution and growth ever end? My favorite artists keep on evolving, changing and challenging themselves in their craft and at times their loyal audience. Thom Yorke, Bjork, Ryan Adams, Jeff Tweedy and Bob Dylan come to mind as artists who are constantly molding their art to new shades of sonic brilliance. But my favorite has to be one Ms. Polly Jean Harvey. From the first time I heard her strums and youthful howls in "Sheela-Na-Gig" there was something in her voice that reached out and shook me. Polly Jean has a habit of taking listeners by the throat and caressing their hearts in the same song. She's tough, cool, cerebral, romantic, dark, and sweet with infinite sensuality wrapped up in a breathless package that many, like me, respect and adore from afar.

Ever since Dry I had followed her intensely with every step, every song and every album. Not all have been my favorites but I have seen slight changes in the moods, lyrics and sounds of each release. Still, my favorite will always be Stories from the City, Stories From the Sea, the album I first bought while on my journey of self-discovery when I lived in New Orleans. I feel like she, herself, is searching for self-discovery in each of her creations. There is exploration within each release from an artist searching for answers in her muse. Mostly we find more intriguing questions in her songs, which sometimes are even more captivating than the answers we seek to find in her albums as a whole.

White Chalk is PJ Harvey stripped, at her most exposed, yet even with the stark state of these tracks we only get a glimpse of her genius. She no longer hides behind the mega licks we know and love from Rid of Me and Stories from the City. Think of this is a continuation of the lo-fi vibe that PJ started in Uh-Huh Her but more so. White Chalk is the most naked and revealing we have ever heard from PJ. It's clearly her own voice but the question remains: is she really singing about her own life? The best artists, most favorites whom I mentioned up above, write with shades of their own experiences but have a way of making each song universal in nature, where, in essence, it becomes less about the artist and more about our own lives and our own experiences. That's the mark of greatness.

"As soon as I'm left alone/ the devil wanders into my soul and I pretend to myself," sings Harvey on the opening track "The Devil." It sounds like a twisted Spector-esque '60s lovelorn pop song without the harmonious ending. It's an interesting choice to start off White Chalk because the majority of the album has very minimal instrumentation. In fact, it sounds like PJ is getting her Under the Pink on, as she un-strapped the guitar and took up the piano keys, a-la Tori Amos. Although most of her songs are piano based but that's where the Tori comparisons started and end.

This is unmistakably a PJ Harvey album, as you can hear from the second track "Dear Darkness." Even with the dark piano chords, the lyrics are pure PJ. "Dear Darkness" sounds like an open letter to her pain and sorrow as she asks "won't you cover me, again?" We've all been there down with no hope in the horizon. I love the "tightening and tightening" angelic harmonies backing as PJ sings, "the words are tightening around my throat." I hear it as the death nail of a relationship when there are no words to say just the stares of anguished confusion. (I've been there before; it's a state I would never want to relive ever again.) The space where lightness these two people once shared is now shadowed by the blanket of darkness which has not only covered their voices but their whole love affair.

I love the way PJ captures the longing with her classical-based piano keys on "Grow Grow Grow." In this song, PJ sings about a devout naturalist hoping the seed she plants will help her sprout love from above ground. I adore the imagery of trampling the seed with her heavy boots. "When Under Ether" could be about a death of child, a love, or someone fighting a disease. The stark piano makes this song an almost funereal lament to the passing of a soul, that in someway was a stranger, but still had a connection whether it is physical or emotional in nature to the protagonist of the song.

The title track sounds as if it would have fit perfectly on Dancehall on Louse Point, PJ's collaboration with John Parish. This acoustic beauty continues the theme of loss of life as heard on "When Under Ether." Is this song about the white chalk that is seen at crime scenes around a dead body or about the death of an unborn child? "The Piano" is one of the most powerful songs on the album, with the haunting refrain of "Oh God, I miss you," revisiting on the recurring themes of White Chalk the appearance of ghost, whether it be in spirits or memories, signaling loss or death is most vibrant in this lively song.

This intimate song, "Broken Harp," is a sign for love gone wrong. The harp is a symbol that is used when love is first felt, with angels playing the instrument overhead. I felt a connection with the final lyrics of this song: "I tried to learn your language/ but fell asleep/Half-undressed/ Unrecognizable to myself." I have lived those words, getting lost in someone else's life and finding your own identity has vanished in the process. This is why I love PJ Harvey, when she sings it's not just a reflection of her life; I like to think that with her own voice she is connecting to our own lives. That is a sign of pure greatness.

With every album, there is a new side of Polly that is uncovered. She is a complex artist with many shades and this why many of us who admire her. She's a mystery to me, and many live to hear the latest unveiling of her words, her passion and her gift to unleash it on us every few years. And this year's incarnation is no different. White Chalk is the latest piece to the mystery that is Polly Jean Harvey. Will we ever learn the answer to the question, `who is Polly Jean Harvey?' I hope not. My wish is that she, like one of her idols Patti Smith, merely continues to drop clues on albums and songs. Sometimes the yearning for answers by listening to the ever changing growth of an artist is better than knowing the real thing.

Adrian Ernesto Cepeda
10.01.2007