FANTASTIC MR. FOX a film by Wes Anderson

STARING: George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Owen Wilson.

GENRE: Comedy, Children & Family.

RATING: PG.

PREAMBLE: A cover is a cover, whether it be on a DVD, record, CD, or what-have-you. Deciding to take a brief step away from the music scene, I visit my second favorite genre of entertainment.

It’s well known, among my friends and family, that I’m an avid (obsessed) Wes Anderson fan. Fantastic Mr. Fox sprung up on me with much delight, after the somewhat disappointing The Darjeeling Limited. I feel redeemed with this quirky adaptation of the children’s classic.

LOOK: I cannot help but notice the striking similarity, hell, obvious reissued format, from Wes Anderson’s 2001 dark comedy The Royal Tenenbaums. Both the Fox DVD cover and Royal sountrack serve as family portraits, they would look handsome nailed above a brick fireplace.

WATCH: Mr. Fox (voiced by George Clooney) is a successful newspaper reporter who has given up a life of crime (hen snatching). After a few wonderful, yet uneventful years, Mr. Fox gets the itch again. With the help of his loyal, yet easily distracted, partner in crime, Kylie, Mr. Fox goes on the prowl again snatching up geese, chickens, ducks, and cider, from “the three nastiest, meanest farmers” in his neck of the woods.

Out-foxed, the Farmers strike back! The Fox family is in grave danger now as Boggis, Bunce, and Bean stumble upon the family’s dwelling, a very lucrative hollowed out tree. Not only has our protagonist put his family in harm’s way, but the entire woodland community as well. It’s time for Mr. Fox to put all those charming, redeeming, and sly qualities that make him oh-so fantastic to work.

SPEAK: Wes Anderson spoke of his interest in Roald Dahl’s (Charlie and The Chocolate Factory) classic: “One thing I think always appealed to me about that character (Mr. Fox) [is] not only that he does everything to rescue his family, and he’s inventive in the way that he does it, he’s the reason why they’re in trouble in the first place.” Co-writer, Noah Baumbach elaborates his and Wes’ attraction to characters who’s “virtues are also their downfall”. The thing that Mr. Fox is “good at is also the worst thing about" him. In a sense, what attracts us to Mr. Fox is “what makes [him] dangerous”. That is one heaping mouth full of intellectualism for a children’s tale!

All of Anderson’s films run with similar style and grace. For Anderson, look and feel are just as important as story, as long as the two former don’t truncate the latter (The Darjeeling Limited). You’ll be able to pluck out any WA film from others, just by looking at it. Fantastic Mr. Fox manifests itself just like all his other films. The only difference is this one is animated, literally. The nostalgic ambiance only lends to, and doesn’t distract from, the already wonderful story.

website - Wes Anderson fan site - imdb

FILM GRADE: A-
COVER GRADE: C
DO WE HAVE A FIT? YES!

VAMPIRE WEKEND "CONTRA" review

GENRE(S): Indie Rock, World Beat.

LOOK: “Some people get really mad when they see a white blonde girl wearing a Polo shirt”, VampWeek front-man, Ezra Koenig exclaims. I know what he’s talking about, in an alienated sort of way (it’s the fat-kid-playing-dodge-ball in me talking). This girl’s identity is unknown. What we do know, this picture was snapped in 1983. This continual trend of Polaroid-looking album covers is a nice signature for our Ivy League quartet. I’m not into blondes, but I’m a sucker for the preppy look: Polos, boat shoes, khakis, New England, etc. On top of that I wouldn’t say I’m a sucker for the Futura typeface; I am STUPID-IN-LOVE with it! VW knows what I like.

LISTEN: “I’ve tried. Lord knows I’ve tried! Vampire Weekend, on paper, should be one of my favorite bands. Maybe I just don’t get it (it’s happened to me before, I’ll “get it” 5 years later). I cannot spin their records for more than fifteen minutes without getting bored.” This was me before. Contra may have changed my mind.

“Horchata”, “White Sky”, and “Holiday”, the first three tracks, are a trifecta. Serving like a memoir they cover winter in Mexico, spring in The City, and summer on The Shore. From this perfect beginning you’ll hear Contra’s departure from Vampire Weekend: more keyboards, less guitar.

I could’ve done without “California English”, but soon we recoil back into place with “Taxi Cab” (the closest VW will get to a ballad). The pace soon picks up again. “Run” brings guitar back into play, lyrics reflecting on what I’m assuming is life before rock stardom. “Cousins” feels like a track left over from Vampire Weekend, the obvious transitional track from one album to the next. After the seventh inning stretch we get “Give Up The Gun”, you’ll hear why it was chosen as the first single for this album.

Contra is a fun, polished effort. It’s a gasp of fresh air between the stale depression too many bands offer. I won’t say this album is perfect, but It’s pretty damn close. So solid Contra is, I will forgive “California English” and the Ra Ra Riot sounding “I Think Ur a Contra”; everything has its weaknesses.

SPEAK: Ivy Leaguers with a hipster twist, that’s what these guys are. The picture says it all!

FACEBOOK – TWITTER – WEBSITE – MYSPACE - AMAZON - iTUNES

ALBUM GRADE: B
ALBUM ARTWORK: C
DO WE HAVE A FIT? YES!

ELVIS COSTELLO "THIS YEAR'S MODEL"

Genre(s): Rock, Punk Rock, New Wave.

Preamble: Deliberate accidents and the designers who love them.

Look: 1978, first copies of This Year’s Model were deliberately designed to appear misprinted. I thought I was the first person to ever consider something like this (there is nothing new under the sun, Aaron). Legendary graphic designer Colin Fulcher aka Barney Bubbles’ brilliant idea: the printers CMYK bar appears to be left behind shifting the album artwork left cutting off the first two letters of type, “E” and “T”. As serious as Costello looks, Bubbles’ deliberate mishap adds the personal touch of human error. Eventually the album was released with a normal sleeve. Ebay await$ for your original copy!

Listen: “I don’t want to be your lover/I just want to be your victim” Costello wails on “The Beat”, setting the emotional tempo for This Year’s Model. A precursor to synth pop, Costello and company employ radio friendly songs with an underground punk attitude. Punk? Yes. The late 70’s UK underground would’ve lumped Elvis Costello, and The Clash on to the same bill.

“Pump It Up’s” intro base line makes aspiring base players jealous. The addictive nature of this melody is nothing compared to its subject matter. Costello exclaims “She’s like a chemical/though you try to stop it/she’s like a narcotic”. Elvis is a man who appears to hate his love for being in love… tell it to the Long Island Scene, Paco!

Deploying a slur of insults at romantic entanglements, TYM takes us through one man’s revelation into his bad choice of women. “Little Triggers” paints a woman who’s mouth is as dangerous as a gun. “Lip Service” speaks of a girl who dies for compliments, a foible that our protagonist has grown tired of.

Continuing with Elvis' woes, let’s not forget the wonder of “Radio Radio”, venting about his love/hate relationship with the medium of radio: “I wanna bite the hand that feeds me/I wanna bite that hand so badly/I want to make them wish they’d never seen me”.

Speak: Costello, depicted in his trademark oversized glasses and fitted suit, is ready with camera in hand, the fashion photographer snapping shots of “This Year’s Model”. Pretty sraight forward. Not too literal but we’re bordering on such. Like its album, one can gloss over its simplicity without picking up on the little CMYK details.

Website - myspace – facebook

ALUBM GRADE – B-
ALUBM ARTWORK- B (with cmyk) C (without)
DO WE HAVE A FIT- YES

SPOON "TRANSFERENCE"

GENRE(S): Indie Rock, Pop, Lo-Fi.

PREAMBLE: Transference is no exception in the steady stream of better-than-average albums cut by our favorite Texan, Hipster quartet.

LOOK: Found images is Spoon's principal-songwriter-turned-designer motif for his band's album artwork. To the designer's eye this appears as a cop-out, considering the inordinately simple treatment of the images (the band's name/title of the album in simple type). Reality; if it weren't for the near perfect pairing of ambiance-of-image to ambiance-of-music I might find it easier to talk [exploitive] about it. Britt Daniel has found how to represent his band visually quite successfully.

LISTEN: The Beach Boys' Brian Wilson had a tendency of fading out most of his songs instead of garnering a proper ending for them. Likewise, Spoon's Britt Daniel likes to cut his songs a la scissor mishap in the control room. How dare I compare ANYONE to Brian Wilson? Why Not? Both Wilson and Daniel have an affinity for writing unconventional pop songs. Why they can't seem to manufactured endings for their songs is beyond me.

"Written In Reverse's" heavy rhythm section, and pounding piano keys showcases Daniel's leathery croon in such a fashion, making you imitate him as you drive alone. Raspy vocals aside, "Written in Reverse" stands as a climax in this story, whereas the rest of the album falls around it as a supporting cast (ain't nothing wrong with that). "Trouble Comes Running" on the other hand stands quite well on it's own, as a quick interlude/revelation before a dramatic resolution. Its cheeky, upbeat home-recording sound adds depth to its simple tune and melody: this is a foot-tapper.

Spoon's pop sensibility make them easy to love, and makes it even easier to pinpoint their influences. What others mimic, Spoon takes and makes their own. This can't escaped with "Goodnight Laura" as they channel the powerful Paul McCartney balled, and sprinkle in off-kilter Radiohead piano.

Spoon cut a record that sounds more like a home recording than a proper album. Lacking in lead guitar riffs and proper endings, Transference's mix of jump cuts and faux lo-fi recording is like peering into a practice session . Weather or not this is the intention draws a line between "work of genius" or "not".

SPEAK: As before, with Ga Ga Ga Ga Ga, the album's image serves as the perfect scene for its sound track, this album.

website - myspace - facebook

ALBUM - B-

ALB UM ARTWORK - B-

DO WE HAVE A FIT? YES!

WILCO, WILCO

Genre(s): Alternative, Rock, Folk, Experimental.

Preamble: Wilco, the band releases Wilco (The Album), which contains “Wilco”, the song. Confusing? Perhaps. Although, a dense fog of confusion has always played a major role (metaphorically) with our favorite Alt-Country-innovators-turned-superstars.

Look: A desert workhorse is cheekily adorned with a party hat at a rooftop party devoid of guests. I’m gonna sit here and decipher some sort of meaning, that’s usually how I work. Here it goes!

Long-winded: Children’s birthday parties, at least the thematically poignant ones we dream of, would include a pony, right? My parties growing up involved piñatas, carne asada, and a full keg of beer for the adults. My cultural differences are a bit skewed but can’t escape something any echelon of society knows: the feeling of being “the odd man out”. Wilco, for all its triumph, could never really reach the level of a U2, REM, or band-that-both-fans-and-critiques-adore. Wilco’s not a band for the masses, as much as you’d like to think so. They, take some getting used to, are an acquired taste per se. Our desert friend could represent the “odd” kids getting together to throw a party of the rest of us, by the rest of us, for the rest of us.

Short And Sweet: Why not have a camel at a birthday party? Take the damn picture already! The camel wrangler’s gonna be here any minute!

Listen: “Common children, you’re acting like children/every generation thinks it’s the end of the world,” Jeff Tweedy sings with jesting concern on “You Never Know”. He follows that with a catchy-as-hell chorus saying “I don’t care anymore, ‘cause you never know”. On 2007’s Sky Blue Sky we listened to Tweedy dealing with the woes of adulthood. This time around could we be hearing insightful words of wisdom that only come from old age?

“I’ll Fight”, is a song so chivalrous it could be passed off as romantic; well, as romantic as any man can get without exposing his soft underbelly. Before you get all gushy, “Bull Black Nova” takes us into pitch-black. Building greater tension than anything Hitchcock could produce, we are painted a picture of a man who has just committed homicide. He sits on the hood of his car contemplating his fate, reminiscing all the blood left at the scene of the crime.

The two humps on our party attendee are perfect symbolism of what this album feels like: peaks of very successful songs and valleys with songs that could’ve used more attention. My personal dislike for “You And I” (featuring singer-songwriter Leslie Feist) goes a long way, but this tune will have no problem deflecting my negativity with its radio-friendly coating. Tweedy presents the theme of the album as "acceptance of things you cannot change". 12 step program? Anyone? Acceptance of more commercial sounding music is a direct effect of that.

Speak: “Wilco”, the album’s opening track exclaims “Wilco, will love you, baby”. Bands whom have achieved cult status usually travel a two-way road, appreciating their fans as much as their fans appreciate them. All be it the road less traveled, Tweedy and company reinforce that admiration by letting us know they have our unbroken back.

http://www.wilcoworld.net/

ALBUM: B-
ARTWORK: B-
DO WE HAVE A FIT? NEUTRAL

THE ROLLING STONES "EXILE ON MAIN ST."

GENRE(S): Rock 'n' Roll - Country - Soul - Blues

PREAMBLE: Escaping their home country of England (avoiding mounting taxes), The Stones settled into a chateau in southern France to finish up four years of work. In the midst of Keith Richards' and Producer Jimmy Miller's daily heroin habit, Jagger and company manage to pull off the 7th Greatest Album Of All Time: Rolling Stone Magazine's 500 Greatest Albums Of All Time.

LOOK - A collage of black and white pictures of Sideshow Freaks graces the cover of The Stones' tenth studio release. The Rolling Stones, always sticklers for the provocative and raunchy, are well represented by these Carnies. Each of these pictures could be a visual for each of the eighteen tracks on Exile... perhaps I am over-stretching my interpretation? Truth be told, this fits the band, and it's not literal; that is always nice to see. My only complaint, the title and name of the band almost camouflages into the high contrast of the photographs.

LISTEN - Mick Taylor, now a full member of the band and lead guitarist, lays down just as many memorable guitar riffs as Brian Jones could have. "Rocks Off" opens the album with one of these riffs; coupled with a sharp snare beat, and Jagger's signature soulful growl, you'll have no choice but to crank the volume to 10.

Always the template for what a lead man should be, Mick Jagger's easy-come attitude on "Shake Your Hips" takes innuendo farther than it ever would have liked. With Producer Jimmy Miller sidetracked, Jagger took control at the sound board once in Los Angeles. Though Exile deploys some of The Stones' best arsenal, Jagger's inadequate production skills is unmistakable with barely audible lyrics and a rhythm section with no punch.

"Tumbling Dice" and "All Down The Line" strut through with the signature Stones sound you've come to know and love. Tracks like "Ventilator Blues" and "Turd On The Run" show how deep-down, blue, and dirty the delta can get. Nashville isn't far down the highway with "Shine A Light". There is no lack of soul here; "I Just Want To See His Face", makes The Rolling Stones one of the few bands who can just as easily write a song about Jesus as they can about Lucifer.

Exile On Main St., in my humble opinion, is a bit fat, and could have been reduced to a very good single album instead of being an better-than-okay double album. Then again, what do I know? George Martin said the same thing about The Beatles' White Album.

SPEAK - The Rolling Stone were never perfect. Who could be when constantly compared to The Beatles? Exile is not the starting point but the hight of The Stones finding their own niche in the history of Rock 'n' Roll. Giving into one's flaws might make you a freak, but I'd rather be a freak than pander to what-have-you. Inperfection is the truth.

www.rollingstones.com

ALBUM GRADE - B-

ARTWORK GRADE - C+

DO WE HAVE A MATCH? YES!

THERESA ANDERSSON "HUMMINGBIRD, GO!"

GENRE: Indie - Folk - Singer Songwriter - Soul

PREAMBLE - They say women are better at multi-tasking than men... I never doubted it for a minute. Theresa Andersson has only served to put this statement to shame.

LOOK - This image 'aint nothing if not pretty; a fitted glove for Miss Andersson's beautifully crafted album. A hand-painted image of what looks to be mountains graces, Hummingbird, Go! Its "cute" whimsy may not be worthy of white museum walls, but sure sells the idea of carefully instrumented love and beauty. Theresa's hummingbird must go, maybe it's destination is depicted in this 4.75 X 4.75 square. Above the heartwarming color pallet of the these mountainsides is the only problem I see with this design, a problem that arises for many designers (including myself): the type doesn't belong, and isn't part of the design; it looks like it was squeezed in last-minute before it was emailed out to the manufacturer.

LISTEN - Swedish signer songwriter, Theresa Andersson came to New Orleans in 1990. After a decade-long stint of playing the Ragin' Cajon scene, she quickly developed and honed her multi instrumental talent into a package that astonishes.

"Birds Fly Away's" beautiful harmonies and layered instrumentation makes you picture a room full of musicians, back-up singers, and technicians. It's hard to believe that Hummingbird, Go! was cut entirely out of Andersson's kitchen (where she practices her amazing live performances). Equipped with peddles galore, drums, an acoustic guitar, a violin, and samples, Theresa makes what she does not look easy at all. View a performance here! Or here.

Title track "Hummingbird, Go!" is a good example of the two minute little snippets of beautiful experiments Andersson sandwiches in between bouncy, stomping, chic-barn-performances you could square dance to ("Japanese Art"), and songs that will have you remains about your old hopeless romantic ways ("The Waltz").

My favorite song on the record "God's Highway", with its refreshing, honest, all-be-it-painful lyrics, is a great contrast to upbeat tracks like "Na Na Na". From the highs to the lows, to the romantic and personal, Theresa Andersson hits almost every single note within our psyche.

SPEAK - Hummingbird, Go!, at first listen is just a better-than-average offering by a very talented singer songwriter. The strength of Theresa Anderson's song-writing isn't disputed. What can be disputed, for me, is whether or not she is the fine line between Musicianship and Performance Art. It's easy to see how this all could be taken as a novelty act, but these songs are too good, too perfect, too intricate, too gosh-darn pretty to be an "act".

Theresa Andersson's Myspace

ALUBM GRADE - B

COVER GRADE - C

DO WE HAVE A MATCH - YES!

PANIC AT THE DISCO "PRETTY. ODD."

GENRE(S): Emo - Indie - Baroque Pop - Rock

PREAMBLE - The taboo of Pop Music has withered away and has all sorts of kids wishing they could cut a record at Abbey Road Studios.

LOOK: Panic At The Disco's choice of artwork for their second album, in leaps and bounds, is a step up from the High-School-Photoshop-project of an album cover they put out for A Fever You Can't Sweat Out. Victorian-styled illustrations in a Victorian Era frame highlights this whimsical album well.

LISTEN: Modern Pop songs are miles, if not light years away from the cornerstones set in the first half of the 20th century. Not afraid to slip their hand itno the sticky mess Pop has become, Panic At The Disco reflects on the past. Problem: their experimentation has them imitating sounds they've heard elsewhere without having a shred of their own.

The Kids meandering your local mall were tickled pink to pick up this new offering. Poster Children for the Emo Scene, Panic At The Disco is applauded for taking a daring chance, away from their Punk-Disco sound. Brush the bangs from your eyes, boys and girls, this Vegas quartet feverishly spent over a year doing nothing more than appropriating The Beatles' Sgt Pepper's Lonely Hearts Club Band.

Pretty. Odd., from the get-go, has Panic personally addressing a crowd in waiting. "Nine In The Afternoon's" A-Day-In-The-Life pounding piano chords, "Mad As Rabbits'" Good-Morning-Good-Morning horns, and every other song laced with George Harrison-esque guitar riffs, has you wonder if PATD stumbled across scrapped Paul McCartney tunes.

Do or don't get me wrong, some songs on this record are catchy as hell. "When The Day Met The Night" will snag you with its Baroque Pop style, but you still can't help but reference "Penny Lane". These songs are good because Panic At The Disco did their homework, and thus mastered the art of mimicking.

SPEAK: Your typical 15-year-old with skin-tight jeans, teased hair, and liquid eye liner (boys and girls included) live within an umbrerlla, inside a "scene", never having been exposed to anything but Paramore and Taking Back Sunday. Our sense of history has been lost. Educate yourself to find the roots that sprung your favorite artists.

www.panicatthedisco.com

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ALBUM GRADE: C

ARTWORK GRADE: B

DO WE HAVE A FIT? YES

GREEN DAY "21st CENTURY BREAKDOWN"

GENRE(S): Punk - Rock

PREAMBLE - Green Day's second attempt at Rock Opera. Why try to reproduce what you could only get right once?

LOOK: Two star-crossed lovers are stenciled onto Green Day's 8th release. I assumed the graffiti look had lost it's potency since its exposure through Mainstream Hip-Hop and over-exposure with turn-of-the-21st-century Rock. The artwork, credited to Chris Bilheimer, mirrors artists such as Banksy; originality is nowhere to be found here.

LISTEN: The massive success of American Idiot (2004), caused a wave of enthusiasm amongst longtime fans happy to see our favorite Bay Area Trio take the limelight once again. Backlash: a new generation of fans who don't have the luxury or retrospect of growing up with Dookie (1994). If you're pushing 30, like myself, I'd steer clear of any Green Day concert, least you want to spend the night amongst a sea of 13-year-old kids and their I'm-still-cool or grumpy parents.

Clocking in at over an hour, 21st Century Breakdown is the longest release in Green Day's catalog. Who's responsible for not equipping Billie Joe Armstrong with the butcher's cleaver for a little fat-trimming? Tracks 4 through 7 are intended for character development in this Punk Rock Opera, but only serve as filler before you get to the juicy plot-thickeners. "East Jesus Nowhere" (protesting organized religion) shines through with a real sense of Anti-Establishment attitude. The fast-paced "Peacemaker", primarily driven by acoustic guitars, adds a much-needed extra dimension in a style we haven't seen from the boys since 2000's Warning.

It takes 13 tracks before we get the album's best track, "Horseshoes And Handgrenades". Armstrong's growling vocals and signature Power Chord guitar riff are sure to make it a head-bobbing crowd-pleaser. Track 16, "21 Guns" is something to look forward to, but by then you've realize 21st Century Breakdown's so-called concept has drowned in a slew of songs that are far too similar to one another. "I don't want to loose my sights", Armstrong sings on "See The Light"; I'd hate to break it to you, Billie Joe, but I think this time around you have.

SPEAK: Have I been spoiled by Swiss Modern Design (design at its purest and most minimal form)? Minimalism is a backlash to gaudy ornamentation, ornamentation revolts against the elite of minimalism, destruction breeds creation, and around and around we go. Chris Bilheimer and Green Day implore too little too late; nothing new or surprising from either artist.

www.greenday.com

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ALBUM GRAD - D

ARTWORK GRAD - F

DO WE HAVE A FIT - YES

THE WHITE STRIPES "ICKY THUMP"

GENRE(S): Rock - Blues - LO-FI - Garage

PREAMBLE - The Stripes slide back into basics.

LOOK - Decked out in Mariachi-sequenced suits, Jack and Meg White are photographed into their stubborn M.O.: a black, white and red color pallet. A bit out of focus, inside a ragged frame, and topped with a red sticker, this image isn't anything to write your Art School Teacher home about.

LISTEN - "Icky Thump" (the song) serves as opener and delivers the catchiest guitar riff, umm, I don't know, in the past ten years; get that air guitar ready, my friends. Truth be told, at first glance, or should I say listen, "Icky Thump" comes off as a typical White Stripes staple but on your hundredth listen you realize just how far Jack White has come as a songwriter. Straight from this opening scorcher to the ultra radio friendly "You Don't Know What Love Is (You Just Do What You're told)", The Stripes have come to know the power of a good song.

Like any White Stripes album, Icky Thump suffers from the repetitive simple song-writing style Jack White has mastered. But despite its expected formulas, I.T. has a higher Shining Moments Per-Capita than most with tracks like "Rag and Bone" (anthem for the proud Second-Hand junkie), "Effect and Cause" (containing the cleverest lyrics Jack White has ever written), and "Baby Brother" (a silly story of an adopted Martian child).

"Conquest" (originally by Corky Robbins) blasts through with Mariachi trumpets and brings the south-of-the-border sound you were promised; do Bull Fighting events put out their own sound tracks? A whole new genre was just created here; Cha-Cha Punk, or something along those lines. Interspersed with trips from Latin America to the Scottish Isles ("Prickly Thorn, But Sweet Worn"), I.T. appropriately veers off its destination (Lo-Fi Blues Rock) but always finds its way home.

SPEAK - Looking like they are about to take on "el toro", Jack and Meg have mislead us. Sure, we're used to the Whites twisting and turning their signature sound into different genres but on this album we're given only one "spicy" track.

www.whitestripes.com

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ALBUM GRADE - B-

ARTWORK GRADE - D

DO WE HAVE A MATCH? NO

BOB DYLAN "BRINGING IT ALL BACK HOME"

GENRE(S): Rock - Folk - Blues

PREAMBLE - Part II of my continual series: Rolling Stone Magazine's 500 Greatest Albums of All Time. Coming in at #31, this LP took Dylan in a new direction and ostensibly got him rejected by the very Folk community that elevated him to stardom.

LOOK - 1966: Bob Dylan and his Manager's wife, Sally Gorssman, are photographed by Daniel Kramer. With fisheye lens in hand, Kramer captures a time capsule. Surrounded by the records that inspired him (Robert Johnson and The Impressions to name two), a Fallout Shelter sign, and an January's issue of Time Magazine (L.B.J. on the cover) we peer straight into the social heart of America at the time.

LISTEN - Ditching the acoustic guitar on half the tracks, Bringing It All Back Home delivers a lighting bolt of electricity. First, "Subterranea Homesic Blues" kicks in the door startling the living daylights out of any Beatnik folk enthusiast. But before you ditch the black turtle neck and red wine and head off to the backwoods Rock Jamboree, Dylan reminds us of his thoughtful side with "She Belongs To Me". By the time "Maggie's Farm" (Chain Gang rock 'n' roll) and "Outlaw Blues" (dirty swampy blues) comes around you start to wonder when you'll hear an acoustic guitar take center stage.

Cryptic, string of conscience lyrics are masterfully interwoven in with the first half of the record's schizophrenic sounds-cape, but the second half brings it all back home (sorry, I couldn't resist). "Mr. Tambourine Man", a staple found on any Bob Dylan hits mix, leads the path for songs we've come to expect. The record's curtain call "It's All Over Now, Baby Blue", a heartbreaking final bow song, brings us to our final conclusion: Bob Dylan is just as comfortable behind an electric as behind an acoustic.

SPEAK - Dressed in a Mod black suite and cufflinks (a present from Joan Baez), Dylan, always the elusive character, has a look on his face making us wonder what's on his mind. We assume Bob Dylan always has, or had, an askew view of the world, that's just one element we've lumped in with his mystique. Does this album cover reveal to us how Dylan's perception of things funnels through to him, or is this just what happens to you when you stare too long at Mr. Zimmerman?

www.bobdylan.com

ALBUM GRAD - B+

ALBUM ARTWORK - B

DO WE HAVE A FIT? YES

BRAND NEW "DAISY"

GENRE(S): Rock - Alternative - Hardcore

PREAMBLE - I've seen undesigned before but haven't crossed something this bare in a greatwhile.

LOOK - Has a picture ever wound up on your camera that you don't remember taking? Or, better yet: has a picture you've taken and forgotten suddenly reveal what was hidden in the dark; maybe that photograph accidentally snapped while on a cold damp camping trip? My imagination has run away with this image. There's something sinister about catching a woodland predator (with major red-eye) on film. I'm not a fan of San Serifs (Helvetica junkie present), but the centered type only lends to the "No Concept" concept.

LISTEN - 2006: Brand New gave us their most ambitious release, God And The Devil Are Raging Inside Me. It was the final nail in the coffin of any Emo clichés Brand New was unwillingly tired of garnering. Its follow-up now has the band teetering on a fine line between a personal experiment and unconventional for the sake of being unconventional.

Jesse Lacey, frontman and principle songwriter let the reigns loose, sharing more song and lyric writing responsibilities with Lead Guitarist, Vin Accardi. Lacey's well known long, poetic, diary-like lyrics have swept away making way for more obscure, or straight forward similes leaving songs feeling uninspired. On God And The Devil Are Raging Inside Me, Lacey made every heart-wrenching vocal seem effortless without lack of heart. On Daisy Lacey's vocals comes off not so effortless and are massively outweighed by distorted noise.

Daisy starts off with a scratchy recording of an old gospel hymn, "On Life's Highway", which is then rudely/perfectly interrupted by the lead track "Vices", by far the best song on the record. Lung-shredding vocals, buzzing bass, and wailing guitars, "Vices" sets the stage for every other track to come. Unfortunately, midway through the album, the formula starts to ware out its listener; getting noisy at every opportunity causing distortion to become a novelty,taking center stage, veering the spotlight away from everything else. Ultimately this record is a condensed version of GATDARIM which leaves it feeling, like most of its songs, incomplete.

SPEAK - Musically, Brand New has gotten harsher and darker... long strides forward from their debut, Your Favorite Weapon, that had them lumped together with such acts as New Found Glory. These Long Islanders have easily broken away from the Mall Emo Empire they helped erect, and did it on their own terms; love them for that. But here Brand New decide to cause a scene instead of gracefully bowing out of their Emo Royalty status.

www.fightoffyourdemons.com

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ALBUM GRADE - C+

ALBUM ARTWORK - C

DO WE HAVE A FIT? YES

THE BEATLES "YESTERDAY AND TODAY"

GENRE(S): Rock 'n' Roll - Folk - Pop

PREAMBLE - The second of my new continual series reviews: Most Controversial Album Covers Of All Time.

LOOK - Early 1966, a little tired of the usual photo shoot, The Beatles teamed up with conceptual photographer Robert Whitaker. What resulted: this image of the Fab Four dressed in butcher smocks draped in raw meat and plastic baby-doll parts. Being musician, and ultimately artists themselves, The Beatles were intrigued by the avant-garde. The photograph was chosen for the cover of their next Capital Records release in the States; bad idea! Conservative American parents, who already weren't too fond of these Mop Tops having influence over their kids, felt they had gone too far.

Result: every single copy of the album was recalled, pulled from record store shelves all across the U.S. and Canada. But not before the few (thousands, really) fortunate fans who were able to purchase this now rare printing. Capital Records in turn took back the records and printed a new, more appropriate album cover that could be pasted onto the front of the existing jacket. This is becoming even more of a rarity than its predecessor.

Above: below the butcher album cover is a picture of the altered album jacket (notice the looks of disgust on the boys faces, especially John's; not too happy about having to reshoot). Look to the right of the open trunk, you can actually see the shape of Ringo's turtle neck showing through the white paper. CLICK ON THE ALBUM COVER FOR A BETTER VIEW.

LISTEN - In the early to mid 60's there were American Releases and UK Releases for our favorite artists, such as The Bealtes. These two types of releases differed. In the case of Yesterday And Today, left over songs from the U.S. Rubber Soul, the U.K. Help!, and a few extra singles were jumbled together. Why would they do this, you ask. Simple; the more songs Capital trimmed from U.K. releases, the more extra songs they had laying around, enabling them to conjure up more American releases, and thus make more money.

SPEAK - Yesterday And Today isn't an official album released by The Beatles in their native U.K., there for just a "butchered" smash-up version of Rubber Soul and Help!. John, Paul, George and Ringo were known for their cheeky humor. Their infamous beef-laid album cover was more than likely them trying to make "The Suits" sweat. Truly, you'll enjoy listening to this because, lets face it, it's The Beatles, but you'll be happier sticking to the U.K. releases.

www.thebeatles.com

ALBUM GRADE - C

ALBUM ARTWORK (Butchered) - A

ALBUM ARTWORK (Trunk) - C

DO WE HAVE A FIT? YES (B) & NEUTRAL (T)