→ July 3, 2009
→ By

Billy Phelan’s Greatest Game.

Recent radio: My first-ever appearance on the BS Report; today’s hit on our Seattle affiliate; yesterday’s hit on Mike and Mike in the Morning (complete with goofy custom song).

I’ll be on KTAR Phoenix tonight at 7:10 pm local time, and on ESPN 1000 in Chicago at 9:40 pm local time.

Billy Phelan’s Greatest Game is the second book in William Kennedy’s Albany cycle, which started with Legs (which I didn’t like) and continues with the Pulitzer Prize-winning Ironweed. Legs was a fictionalized story of bootlegger Legs Diamond’s rise and fall in the Albany underworld, but the use of a real person limited Kennedy’s ability to craft an actual plot, leaving him instead to fit his words around actual events. In Billy Phelan’s Greatest Game, Kennedy can create something from whole cloth – the story of the title character’s unwilling involvement in a major Albany kidnapping, his fall from grace, and his surprising redemption.

Although the setting is the 1930s, evoking thoughts of hard-boiled detective novels, Kennedy’s style is more expansive than the typical dry hard-boiled writer’s, from longer sentences to allusions to music, novels, and poetry, such as this passage where one character, a playwright, quotes Yeats:

Young people rode together in the summer in open carriages. They held hands and walked around the spectacular Moses fountain. Martin’s father stood at the edge of these visions, watching. This is no country for old men, his father said. I prefer, said Edward Daugherty, to be with the poet, a golden bird on a golden bough, singing of what is past.

The passage is a memory of Martin Daugherty, a friend of Billy’s and the second protagonist in two plot lines that intertwine throughout the book. Martin’s is more introspective and sentimental, while Billy’s has more action, relatively speaking, although the bulk of the big action takes place off-screen. Both characters face existential questions, revolving around family, both real and the constructed “family” of the McCall crime organization.

Kennedy’s prose is strong, and was markedly improved over that of Legs. He provides just enough imagery to set the scene and evokes that hard-boiled feel with text that’s one step above sparse. Billy Phelan’s also has more comic elements, and Kennedy is certainly not above a bit of slapstick or even bathroom humor, including the book’s funniest passage, one that has nothing to do with the main plot:

And Cottrell and Leonard and the mannequins in the window. Two bums broke that window one night, drunked up on zodiac juice, everybody’s bar dregs, beer, whiskey, wine, that old Lumberg kept in a can and then bottled and sold to the John bums for six bucks a gallon. When the cops caught up with the bums, one of them was dead and the other was screwing the mannequin through a hole cut in its crotch.

After fighting my way through Legs, I tore through this book, and was even satisfied by the unconventional (and slightly ironic) ending.

Next up: Back to the TIME 100 with Henry Green’s Loving, part of a three-book volume that includes his earlier novels Living and Party Going.

Filed Under: Literature Tagged With: , , ,
→ July 1, 2009
→ By

The Old Man and the Sea.

Podcast links – I was on The Herd yesterday and Baseball Tonight last night. Still working on last night’s Fan 590 Toronto hit, and the Mike & Mike hit should be up later today.

It would be fairly easy to write a note about Hemingway’s The Old Man and The Sea that is actually longer than the book itself, but I’ll resist the urge. I don’t care for Hemingway, having read three of his novels before tackling this novella (#32 on the Radcliffe 100 and winner of the 1953 Pulitzer Prize for Really Short Books of Five-Word Sentences Fiction); his prose style is detached, and I can’t relate to the casual nihilism of many of his main characters. The Old Man and the Sea differs from the other Hemingway novels I’ve read in the latter respect, since it’s more of a fable than a novel, and the title character dares to hope.

The main question around the novella seems to be the symbolic value of the sea and/or the giant fish that the old man catches. These were some possibilities that occurred to me as I read the book:

* The fish represents happiness: You can catch it and hold it for a short period of time, but like all else in life and this world, it will pass. This would mean that Our Lady Peace had it slightly wrong, since happiness would indeed be a fish you can catch, but not one you can keep.

* The fish represents man: King of his little universe until some higher force (fate, God, two-headed aliens with probes … okay, the last one might be a stretch) intervenes. And subjects him to a humiliating, painful decline. This is Hemingway we’re discussing, so you can’t rule that out.

* The sea represents life or fate: Pretty obvious. Man struggling against a force beyond his control and beyond his ability to perceive it, refusing to surrender or accept inevitable defeat.

* The fish and the sea together represent the upper and lower bounds on man’s life. Man can tame or defeat some aspects of his world, but ultimately there is an upper bound on our existence.

We read A Farewell to Arms in AP Lit – I was so pissed at the ending that I threw the book across the room – but never Old Man, which seems to be unusual given how many people tell me they read it in school. Hemingway strikes me as an author best read in an academic setting because his works lend themselves so well to this kind of simple literary analysis. I don’t enjoy his prose, and his stories and characters don’t grip me the way that Fitzgerald’s or Faulkner’s do.

Next up: The second book in William Kennedy’s Albany cycle, Billy Phelan’s Greatest Game. I can already tell you it’s better than Legs.

Filed Under: Literature Tagged With: , , , , ,
→ June 30, 2009
→ By

Kingdom of Rust.

I’ll be on the Herd today at 12:25 pm EDT, and am tentatively scheduled to appear on Mike and Mike tomorrow morning at 7:24 am EDT. My hit on Phoenix’s KTAR from yesterday morning is downloadable here.

I’ve been a Doves fan since 2000 or so after hearing a few tracks from their debut album, Lost Souls, which they followed with one of the best albums of the decade, the epic The Last Broadcast, which was a huge hit in the U.K. but got very little airplay here outside of a car commercial that used one of the album’s singles, “Words.” Their newest release, Kingdom Of Rust, doesn’t quite live up to the peaks of The Last Broadcast but is more consistently above-average and improves with each listen.

Kingdom contains two standout tracks, several more strong ones, and a little bit of unfortunate filler (although I doubt Doves views them that way). The first standout is the title track, a rockabilly-meets-shoegazing track with mournful singing over an upbeat drum pattern – a juxtaposition that more or less defines Doves’ sound over their four studio albums. The other, oddly enough, is a download-only bonus track, “Ship of Fools,” with an intro that borrows from Blind Faith’s “Can’t Find My Way Home” (but not from World Party’s one real hit) before expanding into a less folky, more rock-oriented song with a haunting minor piano riff.

“House of Mirrors” has a late-60s, Pink Floyd in the Syd Barrett era feel, while “Compulsion” revolves around a late-70s/early 80s funk-meets-new-wave drum-and-bass combination. The opener, “Jetstream,” harkens back to their dance-oriented roots as one-hit wonder Sub Sub, with an insistent, sparse guitar lick that takes over the song halfway through and compensates for the under-sung vocals. The driving “The Outsiders” sounds more like a leftover track from Lost Souls, a song filled with thick, fuzzy guitar work that make the entire song crackle with energy. The only real duds are the album’s closer (sans bonus tracks) “Lifelines,” musically and lyrically a complete drag; and “10:03,” which doesn’t kick into gear until shortly before the three-minute mark and has some nails-on-the-chalkboard vocals from Jimi Goodwin. The lapses are more than covered by the two bonus tracks, the aforementioned “Ship of Fools” and the plaintive “The Last Son.”

The one thing that ties Doves songs together is an emphasis on atmospheric music that still drives forward, a musical equivalent to the narrative greed that sets great novels apart from good (and lousy) ones. When they nail a riff on top of that base of sound, as they do about a half-dozen times on Kingdom of Rust, they’re one of the best bands going.

If you’re not familiar with Doves’ work, you could also start with the following singles: “The Cedar Room” and “The Man Who Told Everything” from Lost Souls; “Words,” “There Goes the Fear,” and “The Pounding” from The Last Broadcast; and “Black and White Town” from Some Cities.

Filed Under: Music Tagged With:
→ June 27, 2009
→ By

Ghost.

I have a new post up with some notes on non-Bryce-Harper players I saw at the Tournament of Stars this week.

River Ave Blues looked at the final mock drafts of the major draft analysts, and they ranked mine as the most accurate.

I’m holding the review of Word Freak for now, as Stefan agreed to a brief Q&A about the book and his current Scrabble habits and I’m waiting for the response.

—

Alan Lightman’s slim, quick-reading 2007 novel Ghost revolves around a very ordinary man, David Kurzweil, whose life is turned upside down when he sees something out of the corner of his eye that he can’t identify or explain. He ends up at the center of a public controversy over the existence of the supernatural, turning his life upside down as he struggles to decide what exactly he saw, and what it might mean.

The ostensible subject of the book is that battle between faith and skepticism, and Lightman – the first professor to receive a joint appointment in the sciences and the humanities at MIT – limits the phony dialogue and extended narrative digressions that can easily ruin a book like this, instead creating a raft of secondary characters to represent many different views on the subject. (Oddly enough, the one role he omits is the traditionalist – at no point does David seek counsel from clergy of any faith.) Lightman also cleverly confounds any attempt by his characters to provide a clear resolution to the question, as proving or disproving the existence of the supernatural is not his aim.

I think the book’s ultimate theme – or perhaps moral – is that, in the small view, it doesn’t matter whether David’s experience represented a genuine contact with the supernatural, but whether he fully believes in it himself. David doesn’t see any meaning in life, so he lives a life without meaning. He has a job that, at the time he takes it and even at the time that he sees whatever he sees, is just a job. His love life is in shambles, with a divorce that he hasn’t emotionally accepted after eight years and a girlfriend to whom he can’t fully connect. As he finds himself forced to defend what he saw from skeptics and from co-opters, his personality begins to emerge from a hibernation that may have started when his father died when David was still a child. He has shied away from real relationships for at least the eight years since the divorce, and perhaps for longer (the marriage did fail, after all), and suddenly is forced to deal with people and to define himself along the way. Whether the supernatural exists is not Lightman’s question; he’s exploring what would happen to an ordinary man placed into an extraordinary situation that has the potential to change his life in either direction.

Next up: One of those books that people can’t believe I haven’t read previously – Ernest Hemingway’s The Old Man and The Sea.

Filed Under: Literature Tagged With: ,
→ June 25, 2009
→ By

Hard-Boiled Wonderland and the End of the World.

Klawchat Thursday 1 pm EDT.

Haruki Murakami’s Hard-Boiled Wonderland and the End of the World came before his magnum opus (and top-ten entry on the Klaw 100) The Wind-Up Bird Chronicle, and having read the latter book first, I can see HBW as a buildup to the later masterwork, where Murakami was still honing his storycraft. The voice is unmistakably his, as is the raucuously inventive plot, but it’s less cohesive than TWUBC or the similarly amazing Kafka on the Shore.

HBW tells two stories in alternating chapters, with the connection only becoming apparently at or just after the book’s midpoint. The main storyline revolves around a narrator who is a Calcutec, a person responsible for encrypting data in his brain, which has been surgically altered to allow for separate, independent access of the two halves of the cerebrum (?). He’s called in for a special, top-secret project by a mysterious hermit-like possibly-mad scientist who knows more than he lets on.

The second storyline is mysterious, as the narrator has just arrived in a strange Town where time exists but moves on forever – not in an infinite loop, where time repeats, but with neither beginning nor end, to say nothing of purpose. People in the Town have no names, no identities beyond their assigned roles, and no feelings. The Town is walled – by a Wall, of course – and there is no way out, although the narrator is never explicitly described as a prisoner and seems to be a VIP of sorts. Its nature is deliberately vague, and only becomes clear after Murakami connects the two plots.

Unfortunately, Murakami appears to have started with the idea of writing one novel and decided midstream to write a different one. In the first half of the book, it appears that the narrator is going to be sucked into an underworld battle between factions fighting over what appears to be control of critical data that he has been encrypting. He’s threatened and injured, goes on the lam … and that plot line ends there, with no return or hint of resolution, and it’s never quite clear what his assailants were after or what they decided to do in the day and a half that follows the assault.

Murakami’s easy, almost conversational style – like having a conversation with a slightly crazy person – and gift for creating memorable side characters was already in full effect in HBW, so it’s an enjoyable read, and he creates plenty of tension to propel the reader through the book. He goes off on an explanatory tangent mid-book, where he has to explain to the reader some bit of science or (in this case) mock science so that the overall plot will make sense, and it’s a jarring interruption to the flow of the story and the prose; it’s a crutch of a weak or inexperienced writer, and Murakami didn’t use it in either of the two books by him that I’d previously read.

If you haven’t read Murakami before, I’d strongly recommend The Wind-Up Bird Chronicle over HBW. Wind-Up Bird is, on its surface, the story of a man whose wife disappears under odd circumstances, sending him on a quest not just to find her, but to find himself. This type of introspective journey forms a part of the ultimate uber-plot in HBW, but it’s incomplete and not as all-consuming as Wind-Up Bird, a book that possesses your mind as the dream of a deep slumber. HWB is best for Murakami completists.

Next up: Alan Lightman’s Ghost.

Filed Under: Literature Tagged With: , ,
→ June 21, 2009
→ By

Strawberry-Rhubarb Crisp.

I’ve got a short piece up on Georgia Tech infielder Derek Dietrich, who’ll be a consideration for the first round next year..

My recipes are usually precise based on multiple attempts to make a dish, but this one is an exception, since I threw it together based in part on what I had left of ten pounds of strawberries and about a pound of rhubarb. The amounts in the fruit base are approximate, and the quantity of sugar you use is going to depend on how sweet your strawberries are. The result was a huge hit, and I thought it was better than the damn good strawberry-rhubarb pie I made on Thursday morning. Next time I do this, I’ll weigh the topping ingredients and I’ll revise it.

Fruit base:
1 pound strawberries, hulled and sliced in half
1/3-1/2 pound rhubarb, chopped into inch-long pieces
Roughly 1/2 cup sugar, depending on the sweetness of your strawberries
1 Tbsp rum, preferably black or dark
1/2 tsp vanilla extract
1-2 tsp fresh lemon juice
3-4 tsp arrowroot or corn starch
Pinch salt

Crisp topping:
1/2 stick (1/4 cup) butter, softened
3/4 cups flour
3/4 cups dark brown sugar, packed*
1/2 cup plus 2 Tbsp rolled oats
3/4 tsp cinnamon
1/8 tsp freshly grated nutmeg
Pinch freshly ground cloves
1 1/2 Tbsp vegetable/canola oil**
1/4 tsp salt

* I used half muscovado, a natural dark brown sugar that has a pronounced molasses taste, and half standard brown sugar.
** Anything that’s neutral in flavor would work here. Ergo, not olive oil.

Preheat your oven to 375 degrees.

1. Toss all fruit base ingredients together in a large bowl or directly in the baking dish and set aside for 10-15 minutes. This is really a pie filling, although most strawberry-rhubarb pies go for a 1:1 ratio of fruits, while I prefer a 3:1 ratio here, so that the strawberries are the star and the rhubarb is justa backup player.

2. Cut the butter into 1/2″ pieces and combine all crisp topping ingredients together in a large bowl. With your fingertips – or, if you’re a complete wuss, a pastry-cutter or two knives – work the butter into the remaining ingredients until it’s combined but not homogenous, with large clumps of dry ingredients around pieces of butter.

3. Move the fruit mixture into the baking dish of your choice – I used an 11x9x2 corningware dish – and top with the crumb mixture, covering the entire surface. (The fruit mixture will bubble through and submerge parts of the topping, creating a pan-dowdy-like effect.) Bake for about 30 minutes and check the dish. You’re looking for a nicely browned top and thick juices bubbling up from the fruit mixture. If you don’t have those two things happening, drop the temperature to 325 degrees and bake until it’s done. (Mine was done at 30 minutes.) Allow to cool to room temperature or close to it so that the starch/liquid mixture can set, after which you can reheat it if you want to eat it warm.

Filed Under: Cooking, Food Tagged With: , , ,
→ June 17, 2009
→ By

BBTN Radio last night.

My hit on Baseball Tonight Radio last night is up. Mostly Sosa talk.

KlawChat is scheduled for tomorrow (Thursday) at 1 pm EDT.

I’m wondering how many more names I’m going recognize in Word Freak. So far we’re at two, not counting Stefan himself, and that’s assuming that “GI” Joel Sherman isn’t the writer for the Post living a secret life.

Filed Under: Appearances
→ June 15, 2009
→ By

Gone with the Wind.

Gone with the Wind is a five-lister, appearing on the TIME 100 and the Bloomsbury 100, ranking 100th on the Novel 100 and 26th on the Radcliffe 100, and winning the Pulitzer Prize for the Novel in 1937. It is a sweeping epic of the South just before, during, and for years after the Civil War, with an emphasis on both the war’s effects on that region and specifically on the war’s effects on women and their role(s) in society. If you haven’t read the book or seen the film, you probably have the same impression that I did of the story, that it is primarily an ill-fated romance between Scarlett O’Hara and Rhett Butler, which ends with their famous exchange:

Scarlett: Rhett, Rhett… Rhett, if you go, where shall I go? What shall I do?
Rhett Butler: Frankly, my dear, I don’t give a damn.

As it turns out, their romance is but one of many plot lines underpinning the book, which is much more about Scarlett than it is about Rhett … and the lines above were modified from their original form in the book, where Scarlett says to Rhett after he has made it clear that they’re through, “All I know is that you do not love me and you are going away! Oh, my darling, if you go, what shall I do?” To this, Rhett responds with a hundred-word soliloquy that ends with, “I wish I could care what you do or where you go, but I can’t. My dear, I don’t give a damn,” with the last few words said “lightly but softly.” I’m not sure which is better – the film version is punchier, but feels less authentic – but the difference in effect is striking.

Scarlett herself is a fascinating character and very well developed, or at least becomes so as the book progresses, and it’s a neat trick by Mitchell to flesh the character out without changing Scarlett’s fundamental selfishness or immaturity through a thousand pages* and a series of life events worthy of a month of General Hospital. Scarlett is more anti-heroine than heroine, but she is definitely between the two poles; despite the character flaws mentioned above and an insatiable desire to earn what might today be called “screw-you money,” she is a raging survivalist and refuses to give up hope even in hopeless situations. Her determination, perseverance, and work ethic save her and members of her family – although whether she cares about them is another matter – from death, starvation, homelessness, rape, and poverty, depending on which trial she’s facing, and she’s admirable for that sheer force of will and her view that dwelling on a past that’s gone or on the reasons why she won’t succeed at something is just a waste of time.

*So I found a site that has word counts for a lot of famous novels, and it turns out that GWTW is the longest book I’ve ever read. The revised list:

1. Gone With the Wind (418053 words)
2. Don Quixote (390883)
3. Lonesome Dove (365712)
4. Anna Karenina (349736)
5. Tom Jones (345139)
6. Jonathan Strange (308931)
7. Vanity Fair (296401)
8. The Pickwick Papers (274718)
9. The Woman in White (244859)

Two books I presume would be next on the list, The Woman in White and The Sot-Weed Factor, didn’t have word counts listed, but I pulled The Woman in White from gutenberg.org. This is probably of interest to no one but me, although I think it’s odd that I’ve read two of the top three in the last three months and five of the top nine (or six of ten) in the last fifteen months. Maybe I’m getting over that fear of long books?

The main problem I had with GWTW may be connected to how well-formed Scarlett is. Mitchell, according to what I’ve since read about the book (including Daniel Burt’s essay in The Novel 100, which is one of his best), was determined to tell the story of southern women in the postbellum south and how they were expected to fill contradictory roles. To that end, Mitchell created two characters, Rhett Butler and Ashley Wilkes, who symbolize the two main cultural forces acting on southern women in that time period. Butler represents modernity, a break with the past and with the societal and moral strictures that held women out of the workforce, in the home, and pumping out babies. Wilkes represents the past, but a past that, by the novel’s end, no longer exists – a genteel, aristocratic southern society that was based on slavery and the subjugation of a “white trash” underclass that was largely swept under the rugs of the well-heeled. Scarlett should choose Rhett and let go of her idealized Ashley, but by the time she develops enough self-awareness to see this, it’s too late.

Yet Rhett and Ashley are so busy serving as symbols for the future (or for a future) and the past that they don’t work well as independent characters. Ashley is a simpering dandy with the initiative of a sea cucumber; he makes an expected marriage and has no useful skill or knowledge, since his plan is to live off his family’s wealth and holdings, all of which are destroyed in the war, leaving him an empty shell of a character for Mitchell to kick around when it suits her.

Rhett is far more complex than Ashley, and is constantly operating from unclear motives, which he lays bare (unconvincingly) in the book’s final pages. He’s an amoral opportunist who believes in nothing but his own pleasure and personal gain, yet makes irrational sacrifices that would appear to further neither of his aims. He loves Scarlett and eventually excoriates her for destroying their chance at happiness, without acknowledging that his derision, his neglect, and his recklessness all might place a little responsibility at his feet. His words are usually perfect, so perfect that he’s clearly a fictional character, yet when he is trying to convince his wife to forget the specter of Ashley and love him, he’s verbally abusive and can’t understand why his plan isn’t working. The final confrontation between Rhett and Scarlett, after yet another tragic death of someone close to them, has Rhett saying powerful, horrifying words about the death of love and the inability to erase the past, but his own role in the past is immaterial to him. He is reduced to a prop, like lighting designed to show Scarlett in an unattractive way.

Was Mitchell so locked in to developing her heroine that she left her male characters all half-formed or even caricatures? Was she unable to gross the gender chasm and create a compelling male character? With only one other completed novel during her lifetime, which she wrote as an adolescent, we’ll never get the answer to this. Reasons aside, that flaw keeps the book from greatness. It’s a shame that she didn’t flesh Rhett Butler out more fully, because he is interesting – an intelligent scoundrel who flummoxes Scarlett in their endless bickering:

(Rhett) “Still tied to momma’s apronstrings.”
(Scarlett) “Oh, you have the nastiest way of making virtues sound stupid.”
“But virtues are stupid.”

It’s also worth mentioning to anyone who does decide to tackle this book that it is full of language that today is considered highly offensive, mostly directed at blacks. There’s dialogue from whites towards blacks using plenty of n- and d-words, there’s also narrative text including those same words, but black characters’ dialogue is all written in the mocking style of “An’ den he say, Tell Miss Scarlett ter res’ easy. Ah’ll steal her a hawse outer de ahmy crall effen dey’s ary one lef’.” White characters in the book would have spoken English with a heavy Georgian accent as well, but Mitchell didn’t see fit to alter their dialogue to reflect the regional pronunciation; using stunted spelling for the words from slaves’ mouths serves to establish them as inferior persons within the book. Perhaps in a book of 300 pages, I could have overlooked it, but in 400,000-plus words, that type of language grates.

Next up: Nonfiction, just for a break – Stefan Fatsis’ Word Freak, about the rather odd subculture of competitive Scrabble.

Filed Under: Literature, TIME 100 Tagged With: , , , , , ,
→ June 15, 2009
→ By

Monday TV/Friday radio hit.

I’ll be on ESPNEWS today at 2:40 pm EDT. My Friday night radio hit on our Chicago affiliate is somewhere in this podcast; it’s very draft-heavy.

Working on the Gone with the Wind writeup.

Filed Under: Uncategorized
→ June 12, 2009
→ By

Nine new-ish songs.

I’ll be on our Chicago affiliate with Chuck Swirsky tonight, but I’m taping it before the show so I’m not sure exactly when it will air.

Anyway, I have discovered that there is one substantial benefit to XM (Sirius XM, XM Sirius, whatever the hell they’re calling themselves this week) – an hour or so of their alternative stations usually gives me a half-dozen songs I like enough to purchase. Of course, listening for an hour a week is sufficient, so I’m not about to renew my subscription (which I let lapse in 2006), but I get it via DirecTV at home and occasionally in rental cars, which is how I came across these songs.

Ida Maria – “I Like You So Much Better When You’re Naked” (video)

Arresting title, for starters. Ida Maria is a Norwegian singer who has a smoky voice and exudes a woman-on-the-verge vibe throughout the song (“What the hell do I do that for?) and seems to have some issues to work through (“I like me so much better when you’re naked”). The unbalanced lyrics ride on top of an upbeat, sparse guitar/drum backing. Good luck getting this out of your head.

Tokyo Police Club – “Your English Is Good” (video)

The shoutalong intro is kind of menacing – “Oh give us your vote/give us your vote/If you know/what’s good for you” – and the generally obnoxious lyrics, complete with snotty delivery, are backed by an Arctic Monkeys kind of rapid Britpop/punk guitar riff.

Men Without Pants – “And The Girls Go” (no video, but the whole song is here)

Best band name I’ve heard all year, and it turns out it includes Dan the Automator (of Gorillaz, Handsome Boy Modeling School, and Dr. Octagon fame). It’s delightfully trashy rock, deliberately underproduced so it has a garage feel, with a guitar riff that never quite resolves so you’re given the sense that you’re listing to one side as you listen. That’s a good thing, by the way.

Rise Against – “Audience Of One” (video)

I was familiar with Rise Against from their acoustic song “Swing Life Away” but hadn’t heard any of their regular material until I heard this on XM. It’s solid-average, plays up a little with some good tempo changes and unusually sharp lyrics (not just for neo-punk but for rock in general), with the opening stanza, “I can still remember/the words and what they meant/As we etched them with our fingers/in years of wet cement” the first of a handful of strong images which, really, is about all it takes to rise above the lyrical level of the average rock song.

Living Things – “Oxygen” (video)

I had Living Things pegged as a one-hit wonder – and it wasn’t even a big hit or a particularly great song – after their terse and kind of juvenile anti-war song “Bom Bom Bom,” which hit #21 on the Modern Rock Tracks chart in 2005, but this is definitely a step up for them in the songwriting department. It has a stronger hook and a wave of sound behind a chorus that features some actual singing that wasn’t present on “Bom Bom Bom.”

Editors – “Blood” (video)

This song is actually from 2005, but I didn’t hear it at all until last year and didn’t think it worth buying until the second or third time I caught it. It’s very Joy Division/Interpol, and if you don’t like those bands, I don’t think there’s anything I could tell you about this song that would make it worth your while. Mostly I just wanted to mention that I was sure the first line in the chorus was “Blood runs through your feet,” when in fact, it’s “Blood runs through your veins,” so either the Brummie accent pronounces “vein” with a long “e” or my ears are shot to hell.

Franz Ferdinand – “No You Girls” (video)

They write good songs – I doubt you needed me to point this out. I was thinking the other day about how FF are kind of like Stone Temple Pilots in that, while you weren’t paying that much attention, they’ve racked up a bunch of good singles that would make a pretty strong greatest-hits album if the record company was in the mood for a money-grab. STP was there after four albums; FF might not even need that long.

Cage the Elephant – “Ain’t No Rest For The Wicked” (video)

CtE seems like your basic college jam band, which really isn’t my style, but the slide guitar riff and the vocalist’s half-rapped/half-drawled delivery had me singing the song to myself at the SEC tournament despite the fact that I didn’t think I even liked it. The lyrics aren’t especially clever – the singer meets a prostitute and a mugger and sees a crooked priest on TV, territory I’m pretty sure we’ve covered before. Apparently the song went top 40 in the UK last year but just started getting radio play here in the last few months.

Matt & Kim – “Daylight” (video)

Picked this one up a few months ago – I’m a sucker for a good call-and-response song, and this one comes with a shuffling percussion beat for a sort of minimalist punk-pop sucker-punch in just under three minutes.

Filed Under: Music Tagged With: , ,