Ok, hipsters love it. It's probably playing in all the Williamsburg bars as we speak. Which is why it took me so long to get this album. But, I have to admit, I like it. It is a solid indie pop album. Then again, I listen to all this crap. Put a little lo-fi, retro, pop, indie rock on and I'm down. Yeah, I'm a sucker for the whistling. Ok, this review is obviously telling you that this might fall into the guilty pleasure realm. But, I'm loud and proud! Say it, don't spray it, child!

Lily Allen - Alright, Still

Is she worth the hype?  I don't know, decide for yourself, I like it.  It sounds like it's all pop sweetness, but when you listen to the lyrics you realize she's decimating all the boys she's ever dated.  Check it out.

hey so i dont know what it means.  but recently Marty yesdude'ed PULP's This is Hardcore. an album that i have totally heard before, but only until now really grasped it awesomeness.  maybe like how we were never ment to really understand that tv show thritysomething, because, well we werent 30 when it came out and lets face it its pretty dated now. but not this record.  sure its pretty loungey @ times and more than once i thought of neil diamond, but its pretty dark and disturbing—no, dark and unsetteing.  like afgan whigs but not as rocking. how can an album be so good but leave you in such a strange mood.i love this record but i dont know what that means. maybe i'm all grown up and lost my rose colored view of the world, or maybe i'm seeing 20/20.  

Simon & Garfunkel - Bridge Over Troubled Water

Remember February 1970? That was a cold winter. Simon & Garfunkel make no bones about it, this album is for the winter. Came out in February and look at that damn cover. I think Paul is being attacked by a Yeti from behind. Anyway, I popped this album on last week. I'd say it's been a couple of years since I listened to it and man, it brought me back. There is not a single bad track, besides "Bye Bye Love", but that's a bonus CD track, so it doesn't count. 

My favorites? "Keep the Customer Satsified", "Cecilia", "The Boxer", and shamefully (Thanks Dr. Zach Braff for ruining it) "The Only Living Boy In New York". Can't forget "Baby Driver". Shit, did I just mention the whole album? Yeah close to it.

Ok, the only weirdness of this album is the track order. It's like S&G made a 11-Sided dice with all the track names, smoked a splif (they would have had to make the dice first before smoking or maybe the dice idea came from another stoner experience), and then rolled the dice. It starts off with "Bridge Over Troubled Water" which initially you're like "Why would you start an album off with the most depressing song? This is clearly 'last song' material. And then by the middle of the song you're like they're geniuses!" THEN, a few more tracks go by and you think you just put the album on shuffle. So, the flow is strange. But, it is clearly a hit–at the Money Store. 

Joanna Newsom - Ys (2006)

OK - let's just say up front that this is most certainly not a rock record. Let me also guess that you will either love or hate this record, and that's fine, I'm expecting disparaging comments for this one, but I stand by my choice, this album is great.  Her voice is more palatable on this album as well.  

Grizzly Bear - Yellow House (2006)

Check out this album folks, I'm liking it and that's all you need to know.  These guys get lumped into the "psychadelic -folk" category, but its much more subdued and lush than that implies.  Think Iron & Wine meets Radiohead on Valium.

Secret Machines - Now Here Is Nowhere (2004)

I've been loving this album recently.  It's a few years old but new to me - very heavy percussion, arena rock power, with moments of psychadelic brilliance. Think Flaming Lips with balls. Sure it's derivitave as hell, but what isn't?  I also like that this is not just a collection of songs, but rather it holds together as a coherent album. Be sure to check it out.

dear reader: so, everyone is going ape shit over this album and tv on the radio in general, and i just don't get it. even spin magazine had it listed as the best album of 2006. please explain.

So for 2006 I've been all about the live albums. If I had to make a list of the best live albums I've heard this year it would be: My Morning Jacket - Okonokos, Cheap Trick - Live At Budokan, and Chicago at Carnegie Hall. Oh, in no particular order.

But, I'm here to talk Chicago at Carnegie Hall in 1971. You will not be dissappointed true believers. This album has a little of everything. Some great rock, great pop, some little lenghthy tracks–hey it's all about that live experience.

The album doesn't even start until like 30 seconds into it. It's just awkward silence, a little shuffling, an introduction, and then HORNS. "BAAAAAH– BAH–BAAH– BUM" That's how i write music notes, you like? Anyway, good shit. By the time you reach the 2nd side, 2nd track "Questions 67 And 68" you're just hypnotized. It's such a 70's/happy song, but you're eating it up. There's also a couple of sort of cheesy Beatles covers thrown in the middle of songs. But, I'll take 'em.

Anyway, that's all I'm gonna say. I did realize that when I listened to this last (Sunday), I made an early new year's resolution to see more shows in 2007. And then Anthony called me up and convinced me to see Brian Jonestown Massacre and they were… dissappointing. Anyway, there's always next year. But in the meantime, pick up this album.

I think Neil Rosen gave it like 8 wormy apples!

quin·tes·sen·tial - the most typical example or representative.

This was the word to describe Bob Dylan's Blonde on Blonde. My initial reaction, NO. Blonde on Blonde was not Bob Dylan's quintessential album. Danny chimes in and sez, Blood on the Tracks. YES, I agree. Why? When I first really got into Dylan, which was around 97 or 98, everyone would say, "Oh you gotta get Blood on the Tracks". Hands down, this was the "quintessential" album. I remember John got it, and I listened to it. AND, agreed with the masses.

 In April 2003, I got myself a fancy iPod. Danny said, "Come on down to the lab and hook your iPod into my iTunes". I, of course, assumed this was a booty call and accepted his invitation. That's when I got Blonde on Blonde. After listening to that, I was like, wow, this is a f*cking great album.

 From that point on, I loved Blonde on Blonde. But could not officially accept that it was the most typical example of Bob Dylan's work. So, I listened to both albums the other day. I haven't popped in Blood on the Tracks in a few years. Blonde on Blonde is still great. The first jam, Rainy Day Women #12 & 35, I picture Dylan in a bar with a bass drum strapped to his back with a cymbal, with that harmonica strap he wears and a guitar, and an old guy playing the horn.

I think what it is for me is that Blood on the Tracks is more "digestable". Dylan is alittle less whiny. The album is produced. Blonde on Blonde is just more raw. Any way you look at it, they are both amazing.

Whadya think?