Latest Blog Posts

by Jason Mendelsohn and Eric Klinger

8 Jan 2016


Mendelsohn: The Decemberists have a unique gift, Klinger. They are able to take a myriad of disparate genres, thematic material, diverse ideas and turn it into a cohesive work of art. And I’m not talking a little genre-bending or obscure references. The group’s 2006 album The Crane Wife is chock-full of historical and literary references ranging, in no particular order, from a Japanese fairy tale, tales of death and love lost covering the last 300 years — including a trip to colonial times, the Civil War and a modern day forbidden love not unlike Romeo and Juliet. There are also a songs about an an Ulster loyalist group from the 1970s, the World War II siege of Leningrad, and another one detailing a well-planned heist of unnamed goods. All of this is splayed out over some combination for folk rock, prog rock, plain old rock rock and some sweet pop thrown in for good measure. The Crane Wife is also the band’s debut on a major label, marking a shift from being indie darlings with a penchant for folk ditties to major-label players pushing a very diverse set of influences into the mainstream.

And, if that wasn’t enough, The Crane Wife comes off as a cohesive set, loosely connected through lyrical material yet widely divergent from start to finish. Maybe the most impressive part of the entire affair is that this album comes off as meticulously put together but never plays down to the listener who might have no idea what the Colin Meloy, the lead singer and songwriter of the band, is referencing at any given moment. I hope you were paying attention, Klinger, there will be a quiz later.

by Evan Sawdey

6 Jan 2016


Someone find Zachary Cale’s birthday candles, please.

No, it’s not for the fact that the Louisiana-bred, New York-based singer-songwriter is about to celebrate his 37th birthday here soon. It’s to commemorate a full decade since Outlander Sessions first arrived in the world, that scrappy little debut album that Zachary Cale famously recorded on a simple four-track with a guitar that actually wasn’t his. As great an origin story as it is, that 10-song wonder proved only to be a sign of things to come, as over the years, Cale’s own guitar mastery continued to grow, soon opening his albums up to more elaborate, flourishing productions, at one point even forming a full-band rock outfit called Illuminations just to take his songwriting to a different place.

by Jason Mendelsohn and Eric Klinger

18 Dec 2015


Klinger: So I forget why exactly, but awhile back I was looking over the Great List’s breakdown of the most acclaimed albums of 1985. (was I reliving my high school days? researching Tears for Fears? pretending I was working? Theories abound.) Anywho, I noticed something fascinating. One of the most acclaimed albums from that year was a 22-year-old live recording from Sam Cooke, Live at the Harlem Square Club, 1963. Digging a little deeper, I was suddenly reading reviews that suggest this album was actually superior to James Brown’s Live at the Apollo  which is a strong statement to say the least. My world suddenly seemed topsy turvy. Old timey records were on the Pazz & Jop Poll. Critics were besmirching the Godfather of Soul himself. Dogs and cats were cohabitating. My intriguedness grew. I needed to lie down.

Before I did, I pulled the CD off the shelf. I hadn’t really sat down and listened to Live at the Harlem Square Club, 1963 in years, but Mrs. Klinger has informed on several occasions that if she ever had access to a time machine, her first order of business would be to prevent Sam Cooke’s murder. Sometimes her love for Sam Cooke makes me uncomfortable. Regardless, after one listen I immediately understood why this album resonated so much with critics in 1985. I’m prepared to go on at length about it here 30 years later. After this week of intensive listening, I’m sure you’re ready to go on as well. So let’s compare notes. Go on, Mendelsohn.

by Evan Sawdey

8 Dec 2015


Casual fans refer to Widespread Panic as one of the last truly great jam bands, but in saying so, reveal why they are only casual fans. Only the devout know just how much farther Widespread’s musical grasp stretches.

As influenced as they were by gritty Southern rock music as they were with the more embryonic stylings of the Grateful Dead and The Band, this Athens, GA combo are going to celebrate a full three decades of existence next year, which is an accomplishment for any act, much less one like Widespread Panic, who’ve never had a radio hit to speak of, which, in many ways, is just the way they like it. Much like their ill-compared contemporaries like Umphrey’s McGee, the Panic built up their audience through touring, touring, and more touring, making each show an event in their own right, which is part of the reason that they have nearly as many live albums as they do studio recordings.

by Jason Mendelsohn and Eric Klinger

4 Dec 2015


Mendelsohn: I still have a little bit of a new music addiction, Klinger. There is nothing like getting a new record and being blown away by something I have never heard before. In reality, though, nothing sounds new anymore. After nearly a decade of Counterbalance, half of which we spent wandering the wilderness of the Great List, my brain has been trained to see through the wall of sound and start to dissect the influence behind each and every note. Some days I find the experience to be enlightening. Some days it can be crushing as it sucks the joy out of the simple experience of hearing new music. But then, that is the yin and yang of music, nay, of life itself. Pardon me for waxing philosophic, but I’ve been listening to Tame Impala’s newest record Currents and the psychedelic pop licks are starting to melt my brain.

//Mixed media
//Blogs

Double Take: 'Butch Cassidy and the Sundance Kid' (1969)

// Short Ends and Leader

"The two Steves at Double Take are often mistaken for Paul Newman and Robert Redford; so it's appropriate that they shoot it out over Butch Cassidy and the Sundance Kid.

READ the article