In Which Virginia Talks About Music

"One good thing about music, when it hits you, you feel no pain. So hit me with music." - Marley
You can have a physical copy of The Virginia Tingley EP all to yourself!The cost with shipping is $10 CAD.Paypal: lpousnekr @ hotmail.comCheque or money order also accepted, or well-concealed cash
ETA: Interac Email Money Transfers are also fine! Same email address as Paypal. :)To order, please send an email to (virginiagracetingley @ gmail.com) and be sure to include:If paying with paypal:
- The email address you sent your payment through paypal with
- Your name and mailing address
- The number of copies you’re ordering
If paying with Cash or Cheque:
- Your name and mailing address
- The number of copies you’re ordering

You can have a physical copy of The Virginia Tingley EP all to yourself!

The cost with shipping is $10 CAD.

Paypal: lpousnekr @ hotmail.com
Cheque or money order also accepted, or well-concealed cash

ETA: Interac Email Money Transfers are also fine! Same email address as Paypal. :)

To order, please send an email to (virginiagracetingley @ gmail.com) and be sure to include:

If paying with paypal:

  • - The email address you sent your payment through paypal with
  • - Your name and mailing address
  • - The number of copies you’re ordering


If paying with Cash or Cheque:

  • - Your name and mailing address
  • - The number of copies you’re ordering

Jerry Douglas’ New Album, Traveler, arrives June 26th!

When I hear the name Jerry Douglas, I get excited. This dude is one of the most respected musicians in the industry, and one of the coolest resonator guitar players I’ve had the fortune to come across. Though you might not know his name, I can’t stress enough how much you should get to know his sound. Lucky for all of us, Douglas’ new album, which will hit us on June 26th, 2012, on eOne Music, is accessible enough that a music lover who is unaccustomed to Americana or folk won’t have to take a very large leap of faith.

Let me throw some names at you for a moment: Eric Clapton, Marc Cohn, Alison Krauss and Union Station, Keb’ Mo’, Mumford and Sons, and Paul Simon. These are some of the names who lend their vocal talents to Jerry Douglas’ new album. I’m gonna let the press release tell you the rest, while I’ll be busy imagining in my head how excellent Marcus Mumford is gonna sound singing The Boxer. And wondering if it’s gonna have the gunshot-drumshot on the chorus.

Traveler, the new album from world-renowned musician Jerry Douglas, will be released June 26 on eOne Music. This is Douglas’ first solo release since his acclaimed 2009 Christmas album Jerry Christmas! and features special guest vocals from Eric Clapton, Mumford & Sons, Paul Simon, Keb’ Mo’, Marc Cohn and Alison Krauss and Union Station. The 11-track album also features legendary musicians Dr. John (piano), Béla Fleck (banjo), Del McCoury (harmony vocals), Sam Bush (harmony vocals and mandolin) Omar Hakim (drums) and Viktor Krauss (bass), among others.

Recorded in Nashville, New Orleans, New York and Banbury, U.K., Traveler was produced by Russ Titelman. Songs include versions of Paul Simon’s “The Boxer” and “American Tune,” as well as several original tunes from Douglas (“So Here We Are,” “Duke and Cookie,” “Gone to Fortingall” and “King Silkie”). Of special note is Douglas’ rendition of the Leadbelly classic “On A Monday,” which marks his lead vocal debut.

Internationally recognized as the world’s most renowned Dobro player, Douglas ranks among the top contemporary artists in American music. Douglas has garnered thirteen Grammy Awards while holding the distinction of being named “Musician of the Year” by The Country Music Association (2002, 2005, 2007), The Academy of Country Music (11 times), and The Americana Music Association (2002, 2003), as well as numerous International Bluegrass Music Association awards.  Douglas is the recipient of a Lifetime Achievement Award from The Americana Music Association, and was honored as the 2008 Artist In Residence at the Country Music Hall of Fame in Nashville, TN. In 2004, the National Endowment for The Arts honored Douglas with a National Heritage Fellowship, acknowledging his artistic excellence and contribution to the nation’s traditional arts, their highest such accolade.

In addition to his groundbreaking work as a member of Alison Krauss & Union Station, The Country Gentlemen, J.D. Crowe & The New South, Boone Creek, Strength in Numbers, Elvis Costello’s Sugarcanes, and others, Douglas has graced over 2,000 recordings by such distinguished artists as James Taylor, Paul Simon, Ray Charles, Lyle Lovett, Elvis Costello, Garth Brooks, Charlie Haden, Earl Scruggs, Phish, Emmylou Harris, Bill Frisell, The Chieftains, and the eight million-plus selling soundtrack to O Brother, Where Art Thou?.
 

JERRY DOUGLAS, TRAVELER

1. On A Monday

2. Something You Got featuring Eric Clapton

3. So Here We Are

4. The Boxer featuring Mumford & Sons and Paul Simon

5. Duke And Cookie

6. High Blood Pressure featuring Keb’ Mo’

7. Gone To Fortingall

8. Right On Time featuring Marc Cohn

9. American Tune/Spain

10. Frozen Fields featuring Alison Krauss and Union Station

11. King Silkie

 

Pop The Question: “What kind of music do you listen to?”

  

    There is a very fine line you walk, being a Classic Rock fan. In my experience, when you tell somebody you’re a fan of classic rock, there are two main things that people picture you to be. The first is the hick; the backwater, immature moron who goes cow tipping, listens to Lynyrd Skynyrd, and probably drives around with a confederate flag on the grill their pickup truck. The second is the flighty hipster, the one who will listen to Zeppelin, but only if it’s a rare, lost B-side, and thinks that London Calling is an overrated album, but that the Clash’s earlier, non-recorded stuff, was when they were really great. Or so they’ve heard. These are the two fates I find myself frantically trying to choose between, when somebody asks me what kind of music I listen to, if on that particular day I feel like the answer should be Classic Rock. 

      It’s an impossible question to begin with, as every music lover knows. “What kind of music do you listen to?” is the sort of trap where you might as well be saying, “tell me the one genre you listen to the most, and then I will proceed to judge your entire existence based on the answer.” I am the first to admit that I am a huge offender in this department. It’s probably the third question I’ll demand to know of someone, after their name and “what’s up?” I’ve discovered over the years that I’m not even looking for a genre, I’m looking for examples. Every time somebody answers the question “what kind of music do you listen to?” with a genre, I ask for further clarification anyway, which tells me that my original question probably should have been to ask for their favourite artists or songs.

      I met a girl named Millie on Saturday night, the new girlfriend of a friend. Clearly she had to be grilled within an inch of her life. The music question came third, just like it usually does. Millie answered the way any normal person would, with what was probably the truth for her. Poor, unsuspecting Millie, unaware that she was opening herself up to so much judgement with just a simple answer. But Millie, she was asking for it; a tattoo of a cassette tape slashed across her forearm was declaring permanently and publicly that she was into music. I had to know, did her tattoo symbolize her unending love for Nickleback, for Air Supply, for Carrie Underwood? Millie eventually replied, with no small uncertainty, that she liked “classic rock” the most. You remember that person I mentioned a few paragraphs ago, that judgey, snobby person who thinks in dichotomies and frightens me to death when I’m the one giving the answers? Confession time: that person is me.

      Instantly, several generalizations about Millie exploded into my brain. This tiny, curly-haired, polite little girl (she wasn’t a little girl, actually, but she was younger than I am, so I reserve the right to call everyone who’s younger than, let’s say, 25, a little girl) was clearly a Beatles lover, probably bought a cheap acoustic guitar at the age of thirteen or so, so that she could learn to play “Blackbird”. She probably thought vinyl was cooler than anything else, but she couldn’t tell you why she liked the sound better, and she didn’t really have any herself, aside from an old copy of Supertramp’s “Breakfast in America”. In my head, she was instantly in the hipster category, sipping her tea on her Sundays off, writing in a book of lyrics that she planned to someday write into songs. This was now who Millie was, to me, in an instant.

      None of those things are true about Millie. Or maybe they all are. The point of it is, I have no idea who Millie is. And it is ridiculous of me to assume that I do. All of this happened in my head, in a split second. Not okay, Virginia, and definitely the opposite of cool. So I shoved it all away, and asked the question I wanted to know in the first place, “Oh, really? Which bands do you like?” It turns out, Millie really likes Elvis, is a psychology major, and has a really sweet singing voice. It also turns out that you’ll get much further asking questions, clarifying, and listening to answers than it does assuming.

      When you ask the question “what kind of music do you listen to?”, something you’ll discover is that 85% of all people living on this earth will answer with a variation of, “oh, I listen to everything.” What’s worse is that it’s probably true. It’s very rare to discover somebody who never strays from one genre of music. It’s probably not even possible, the nature of music being what it is, songs grabbing influences wherever they feel like it. Music isn’t often black and white when it comes to fitting into genres, and neither are the listeners. Continuing this blog post’s running theme of “hypocrisy”, I give the “everything” answer all the time. It’s a safe answer, it’s shields you from that snap judgement. What I’ve discovered over the years of using that answer is that not too many people push me to elaborate. I’m sort of disappointed about this. Not at the time, mind you, because that would mean I’d actually have to come up with some answers, but in retrospect. Do I want people to be more curious about the musical tastes of others in theory, but not in practice? No, I want people to be more curious about the musical tastes of others, period, rather than being preoccupied with what those musical tastes say about that person.

      I’m envisioning a Cosmo quiz. It’s called “what musical genre are you?!”, and it’s got questions like, “It’s your day off! What would you rather be doing: a) line dancing at a rodeo, b) having a Twilight movie marathon, c) playing in the world series of poker, or d) lying in a field, staring up at the sky, finding pictures in the clouds. You chose mostly Ds: You Are Soft Indie Rock!” Assuming things about the personality of somebody based on their favourite music is just as ridiculous as that sounds (although, I’m going to try and sell it to Cosmo. It’s worth a shot).

      I’ve decided that it’s going to be my new resolution to heed the Musical Golden Rule: Judge Not Others By What Music They Say They Listen To, Lest You Would Have Them Judge Unto You (or something). In the meantime, I’m going to compile a list of genre-spanning bands that I like the most, and memorize them for easy access. In case I ever run into me.

Americana: did you know that there’s a name for this genre?

I’ve been plagued for years with trying to define the kind of music I listen to. Wait, let me back up. I listen to all kinds of different music. Literally, every genre. But there is one specific genre that I’ve held close to my heart, my go-to favorite bands, and they’re a little hard to define. Some may say rocky folk. Folky country. Roots music. Alternative country. Rockabilly. People have been bending over backwards to describe this genre. Well, this genre has a name, and that name is “americana”.

Wikipedia tells me that Americana is defined by the American Music Association as “American roots music based on the traditions of country. While the musical model can be traced back to the Elvis Presley marriage of ‘hillbilly music’ and R&B that birthed rock ‘n roll, Americana as a radio format developed during the 1990s as a reaction to the highly polished sound that defined the mainstream music of that decade.” I don’t think I could describe it any better.

The genre combines folk, rock and roll, punk, rockabilly, blues, and country. Here is a brief list of musicians that fall under (but of course, are absolutely not limited to) the Americana genre: Ryan Adams, Justin Townes Earle, Neko Case, The Deep Dark Woods, Elliott Brood, The Band, Beck, Mumford and Sons, even Johnny Cash, The Rolling Stones and Bob Dylan. The list goes on and on.

And Now, Have Some Tunes:

Rag Mama Rag- The Band

Sugar Mama- The Deep Dark Woods

Without Again- Elliott BROOD

Something in the Water- Brooke Fraser

My Winding Wheel- Ryan Adams

Loretta- Steve Earle (Townes Van Zandt Cover)

O Mary Don’t You Weep- Bruce Springsteen (cheating, I know, I know)

Step One: Drink, Step Two: Listen To Soul Punk - A Review of Patrick Stump’s “Soul Punk”

I’m listening to Run Dry when it hits me: this album is actually huge. And not in my usual, “this hits every one of my buttons” kind of way, because it doesn’t at all (my buttons being what they are), but in the way that my immediate thought was how huge it would be if mainstream radio got it’s hands on it.


They’re miles and miles away, genre-wise, which is why it shocks the hell out of me that I can tell, listening to this album, exactly who crafted the majority of Fall Out Boy’s Folie a Deux. The production is so similar in places that I almost wonder if Mister Stump has pulled one over on me. I was listening to pop-punk back then, right? That’s what it was? Then why the hell am I getting unbidden flashes of Headfirst Slide Into Cooperstown On a Bad Bet? I don’t know, but it’s not an unwelcome confusion. Another place this is evident is when Greed conjures up The Shipped Gold Standard’s bridge. While I had previously thought that Stump’s new direction had been a huge leap from what he’d been doing in Fall Out Boy, now I’m not so sure.

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The Song Remains The Same: exploring the songs we take for granted.

There are certain songs that we’ve heard so many times, we no longer pay attention to them. They’ve been relegated to background music. Sure, we remember that the songs are great, but we can no longer seem to focus on why. I’ll be the first to admit that when somebody asks me a question like “why is Stairway to Heaven such an awesome song?”, I’m likely to answer something along the very helpful and descriptive lines of “because it’s Stairway to Heaven, you idiot”. But why is it, really?
 
The first thing that needs to be addressed, before we get into what makes a certain song great, is the way that the greatness of a certain song tends to fade the more a) you hear it, b) people like it or c) it’s placed at the top of lists of Epic Songs. What makes the greatness fade? Is novelty a mark of greatness? Is it even a factor?

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Because it’s SXSW: Great Songs of 2010 (Rolling Stone meets Virginia)

Rolling Stone had this list of the Top 50 Songs of 2010, and I just wanted to highlight a few for your easy access pleasure. I’m staying away from the very obvious ones, unless I feel that they were ignored on most lists or am particularly spazzy about them.

El Camino (live) by Elizabeth Cook. This tune is rockabilly heaven. Short, cute lyrics with some dirty, dirty guitar riffs lacing the background.

Plundered my Soul by the Rolling Stones. I know, I know. Kinda cheating! But not really, it was released this year, crazies. I adore this song because it brings my favorite era in music to me, allows me to have a claim to it. This song was a track that was thrown to the cutting room floor of 1972’s Exile on Main Street, and then picked back up again and reconstructed in 2010. It’s just got it, in ways that brand new Stones tunes like Streets of Love or Rough Justice just don’t. It’s Tumbling Dice, back in a new form, complete with Keith’s broken licks, and nobody who is older can sit there are describe how they saw the Stones play it in a tiny, dingy club back in the day while we sit, sighing and wishing we were born forty years earlier. Therein lies it’s fabulousness.

In Every Direction by Junip. This song is like… Eddie Vedder’s Into the Wild soundtrack, but on more acid and the voice is a little bit softer.

The Diamond Church Street Choir by the Gaslight Anthem. This song made 39 in the top 50 of 2010! That’s killer! This song is great because it’s got a doo-wop-esque upstroke rhythm and some gang vocals, but it’s all overridden by Brian Fallon’s stellar, stellar voice. Nngh for this song (and band).

I’m New Here by Gil Scott-Heron. So, Gil is an American poet/musician who was popular in the late 70’s, early 80’s for his spoken word poetry. He’s done blues, jazz, soul, and rap, but in 2010 he released this song that is so folky, it makes my heart cry. Rolling Stone describes it in the best way possible, so I’ll just quote them in saying that this song turns “indie-rock melancholy into the darkest, deepest country blues”. And you wonder why I like it.

Nothing But The Whole Wide World (live) by Jakob Dylan. Soft, folky and old-school. Can’t get any better. Suggests a kind of James Taylor melody. This is the kind of song that would have been smack in the middle of the Elizabethtown soundtrack.

Your Hands (Together) by The New Pornographers. This one will seem obvious to some, but that’s okay. It’s still a fabulous song. The guitars caught me off-guard the first time I heard this song. They’re old school grit but mixed with acoustic… only this band, guys. Only them. Love it.

Hustle and Cuss by the Dead Weather. Jack White’s supergroup. This song is so gritty and the riff is so dirty, it’s satisfying. The bass line! Fantastic! (Check out this live performance!)

In (somewhat reluctant) Defense of Train’s ‘Hey, Soul Sister’.



Today, I read this list of the 20 Worst Songs of 2010, which named Hey, Soul Sister as the #1 worst song of the year.

First of all, let’s get this straight. Do I like this song? Yes. Do I think it’s amazing? Nope. Do I even believe that it’s a good song? I’m not really sure, but I’m leaning towards no. However, none of these questions need to be answered in order for me to talk about why this list of the top twenty worst songs of the year is bullshit.

Wait, let me clarify. Only the fact that Train tops the list is bullshit. Because the rest of the list gets it so right. Maybe we should explore, for a moment, why Train tops the list. Do they really believe that Hey, Soul Sister is worse than that godawful reggae song Tom Petty threw on Mojo? What about Bret Michael’s butchering of a sacred Sublime tune? As a music lover, I’m really hoping not. So, if not, I can only conclude that they’ve listed Train as number one because it’s the most popular of the list, and therefore will have more shock value when put at number one. Hey, come read our list! We’ve named a song that thousands of people adore as the WORST SONG EVAHHH. WE ARE REBELS. COME READ US AND COWER BEFORE OUR INDIE CRED.*

This particular entry about Train starts off by letting us all know that Train was the only rock song to land in the Billboard Hot 100’s top 10 this year. So now that we know this, AWESOME, LET’S HATE IT THEN. We’ll leave the Ke$ha alone, and the songs about G6s, and we’ll attack the only song that our music industry deemed good that actually has recognizable instruments in it.

The article moves on to list the songs that Hey, Soul Sister has borrowed things from. Another solid idea, except that you’d be hard-pressed to find any song that was released this year that doesn’t beg, borrow or steal from it’s influences in some way. That’s what it means to be a songwriter. And if you think that Train steals from the All-American Rejects more than RHCP borrowed from Petty for Dani California, you are nuts. The chord progression is similar if you squint, but once again, it’s not new to have a similar chord progression as another song. Go listen to the 4 Chord Song thing that the Axis of Awesome did. And then, we get the assertion that Hey Soul Sister stole it’s chorus from Smash Mouth’s All Star. Well, yeah. It’s first word is “hey”. Identical. I also know many songs whose choruses begin with the word “I”. CONSPIRACY.

Then we get the argument, “The lyrics represent the weird hippie fantasies of a yuppie toolbag”, and also that the song is the whitest song ever to use the word “soul”. ONCE AGAIN. I thought we were listing the reasons why Hey, Soul Sister was the shittiest song of the year, not the reasons our music industry SUCKS BALLS THESE DAYS. Because this applies to EVERY SONG EVER.

See, it’s okay that you hate this song. It’s okay if the reasons that you hate it are these reasons. But it’s not okay to put it as the number one worst song of the year based on these parameters. And it’s definitely not okay for someone to do it while claiming to be someone who knows anything at all about music.

There are many titles we can give it. The most annoying song of the year. The most overplayed. The least-likely to ever go away. But the worst? Again, have you listened to any songs this year at all?

See, there’s a reason you hate Hey, Soul Sister. It’s because it’s too catchy. It’s overplayed. My argument here isn’t that Train’s Hey, Soul Sister isn’t everything that this article says it is. Because yes, it can be accused of all the things it’s being accused of. I just don’t understand why anyone would choose to single that song out, when almost every popular song is guilty of all the exact same things.

And, hey, shut up. Ukulele is awesome.

*see, if you make fun of people for being 1) indie, 2) hipsters, 3) elitist or 4) snobby, it distracts people from the fact that you are these things, too. SEE I’M DOING IT RIGHT NOW. INCEPTION (or something!).

Album Art Apathy; the new pandemic.

People discuss sound quality and convenience when their weighing the pros and cons of buying vinyl vs. CDs, but one thing often goes overlooked in the argument, and that is the cover art. While innocently browsing through my record collection, I innocently pulled out a vinyl copy of Fall Out Boy’s Folie a Deux. I was struck, instantly, with the realization that I had never stopped to look at it’s cover before. It’s a fairly new addition to my collection, I hadn’t listened to it yet, and my CD copy just didn’t have the detail to grab me. When I look at my CDs, I don’t care about what’s on the cover. At least, I don’t spare them more of a glance when I open the case to extract the disc. On vinyl, though, the beautiful expanse of a well-planned, artistic, eye-catching album cover can be almost as pleasing as listening to the album itself. Though Folie a Deux may not be the perfect example of this, it’s the one that got me thinking.

In 1938, Columbia records hired a dude named Alex to revolutionize the way people looked at album covers. It was his job to design cover art, and other record companies followed suit. (I learned this from wikipedia, because I’m a scholar like that.) The 60s and 70s saw the popularity of having a trippy album cover rise substantially. It was the move to compact disc format, which had less than ¼ of the room for album cover design, that led to a disease that I like to call Triple A disease, or Album Art Apathy.

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“Take a Vacation”? Try taking a Delorean. Or the bus to Halifax.

(A pre-review of The Young Vein’s debut, “Take a Vacation”.)

Walker, White, Ross of The Young Veins @ Sneaky Dees, 05/05/2010

Listening to the debut album of the Young Veins throws me back in time… but I can’t decide if I’ve slid all the way back to the days of 60s-era rock, which seems to be the popular opinion, or if I’ve started to take the slide and come to a shuddering halt in downtown Halifax in the mid-90’s.

Other people are crying Beatles on this fresh music from Ryan Ross and Jon Walker (both whom you’ve probably seen gallivanting around your MTV with Russian dolls or a bunch of vaudeville performers as a crucial part of the band Panic at the Disco), Andy Soukal (who is worth a follow on Twitter, let me tell you), Nick White (who you might have seen tooling around on tour with Bright Eyes and in Tilly and the Wall), and Nick Murray (who I know nothing about, sorry bud, but he gets points for some kick-ass linkage on his twitter account. ‘Exile’ outtakes? Yes, please). Instead, I am conjuring images of Sloan’s Coax Me and Thrush Hermit’s From The Back of the Film. They live in LA, and seem to like the weather there, but I think we should start a petition for the guys in the Young Veins to move to Halifax. The reception would be very, very warm.

The album, which drops on June 8th, 2010, on One Haven, is sadly not something I’ve gotten the pleasure of hearing in it’s entirety, though thanks to the generously click-happy twitter-fingers of many, at least five of the tunes have appeared for downloading purposes in the ether. These tunes are incredibly appealing to me. I caught the band in Toronto at Sneaky Dee’s, supporting Foxy Shazam (FOXY!), and heard what I imagine to be the entirety of the album, and I loved what I heard.

What I have heard is simple, clean and melodically pleasing. Easy rhymes and simple metaphors bring this new writing from Ross and Walker a step further than some of the heavily drenched lyrics to some of the latest Panic album’s tracks (“Behind the Sea”, I’m looking at you, babe).

There’s “Change”, the first single, backed by a chugging beat that drives the tune as it’s verses trip down the scale. I’m thinking the Kinks, and I definitely hear some “You Never Give Me Your Money”/ the bridge between “Carry That Weight” and “The End” Harrison lead in there, too. Which is pretty funny, because I could have sworn there was an interview somewhere in which Ryan Ross had said he didn’t know that one. The chords are stripped and Brit-esque, like the Libertines without the minor keys and the rough lyrics.

“The Other Girl” is the one that evokes Coax Me, “Take a Vacation” screams Beach Boys and “Defiance“‘s got that Bo Diddley beat, spun a little to make it work a la U2’s “Desire” and made me immediately want to head home and listen to Garrett Mason’s adaptation of the beat, which is definitely a good thing.

My Dad likes to tell me stories of his misspent, stoner youth. One of my favorites is a story about when the Tom Petty album Damn the Torpedoes was released, he and his friends threw a 24 hour party where they just all locked themselves in a house with the rule that nobody could leave until a certain time, and they listened to the record over and over again and got fucked up. Dad still can’t hear Here Comes My Girl without grinning his face off, because he says at this party, whenever the song’s intro started up, everyone would raise their glasses for a moment of silence for the awesomeness that is music. This was 6 years before I was born. The reason I mention that, is because the prospect of “Take a Vacation” makes me yearn for the days of listening parties. I might have one for it, albeit, shorter than the ones of my Dad’s lore, since there isn’t a song on the album over 3 minutes and the entire thing is supposedly on the short side. (Although I fear that any I try to have would morph quickly into ceilidhs, because we’re really not capable of letting music happen without picking up the various instruments that are lying around. I’ve got like, three guitars and a cajon and a bunch of random harmonicas and tambourines right here in this very kitchen that I can see by turning my head slightly to the left, and we really can’t be here in group form without just, like. Accidentally picking something up.)

According to my sources (read: twitter), the Young Veins are in the studio again already, without their debut even having been released, which is just another thing to add to the list of behavior that makes these dudes belong in a past-gone era. Instead of the cycle of album-release, tour, break, repeat, they’re recording when they have songs and when they feel like it, which is pretty much how all the greats of generations past went about it. (Do you know how many b-sides and unreleased tunes the Who had? Lots. See?)

Lastly, let me weigh in on the Young Veins’ live show. It was fun and simple, much like the album will be, and these cats handled it with the grace and charm of a sheepish supporting act. They were smiling at each other like they knew a secret, and instead of the secret being about the Beatles being a Great Influence on All Music Ever (BULLETIN: not a secret), I like to imagine that their secret is that Thrush Hermit is playing at the Marquee, and we’re all gonna be late.