Tom Petty Beat the System Without Even Trying

Ask people to name the biggest classic rock bands – what do they usually say? The Beatles, Led Zeppelin, the Stones, the Eagles, Springsteen.

Ask people to name their favorite classic rock bands. Here’s mine: The Beatles, Fleetwood Mac, Cream, Creedence Clearwater Revival, Bob Dylan.

Tom Petty & the Heartbreakers isn’t usually a name that comes up under either list, yet we all love him, and he’s had one of the longest and most successful careers of anyone from the classic rock era. So, why is that? There’s one simple reason, and it’s the reason why he’s still famous today. Just a few weeks ago, news came out that Petty had settled a case out of court with singer Sam Smith over his now-award-winning song “Stay With Me.” Smith’s song follows the same melody as Petty’s 1989 song “I Won’t Back Down.” The fact that it was settled and that neither party was the one to break the news reinforces Petty’s later comment that it was pure coincidence. But coincidence or not (and I think it was), this is the third time this has happened.

Musicians getting sued over stealing riffs and melodies has always happened. Robin Thicke and Pharrell are currently fighting a losing battle with the Gaye family estate over “Blurred Lines.” The Rolling Stones probably make more in royalties from “Bittersweet Symphony” than the Verve ever will. Coldplay’s “Viva la Vida” was allegedly ripped off from Joe Satriani’s “If I Could Fly,” which was in turn alleged to be a ripoff of Cat Stevens’ “Foreigner Suite.” It’s always happening.

But this is now the third time in 13 years that Petty has been able to hold up a yellow card and call someone out for ripping him off.

In 2001, a little band called The Strokes released a little song called “Last Nite.” You may have heard it. The song almost single-handedly opened an indie revolution that had been laying dormant, unleashing the likes of the White Stripes, the Yeah Yeah Yeahs, Interpol, Franz Ferdinand, the already veteran Modest Mouse, and many more, in a short span. But it didn’t take long for people to realize that the opening riff to the song sounded an awful like the Heartbreakers’ first single, “American Girl.” Petty never sued or made any deal of it. But the Strokes still admitted that the riff was stolen. In 2006, Petty said of the steal, “…there was an interview that took place with them where they actually admitted it. That made me laugh out loud. I was like, ‘OK, good for you.’ It doesn’t bother me.” Petty even invited the Strokes to open on a tour that year.

Also in 2006, there was a little song called “Dani California” by a little band called the Red Hot Chili Peppers. You may be familiar with that one too, it’s the one where they made a video honoring a whole bunch of musicians who are far better than them. It wasn’t their first single, far from it (it was #30), they were and are one of the most established names in rock. But they, too, were accused of a Petty ripoff. The rhythm of the song matches that of Petty’s classic 1993 single “Mary Jane’s Last Dance.” Being the Chili Peppers, they feverishly denied it and claimed to be an original band capable of original ideas, even though the lyrics of the two songs are also pretty similar. Still, Petty didn’t sue or take any action.

Perhaps because this is getting repetitive, or perhaps because the song is just a little too close, but Petty’s publicists did get involved with “Stay With Me,” although the original low-laying settlement gives the vibe that Petty and Lynne had little interest in it and just saw it as a happy accident. The result, as you likely saw last week, is that Petty and ELO’s Jeff Lynne now share songwriting credits with Smith, Jimmy Napier and William Phillips. The song’s shelf-worth number of Grammy wins has continued to make this a notable story, too.

So why does this keep happening to Petty? It could just lie in the fact that Tom Petty is great and that nearly all of his big hits are excellent songs that never really get old. But that’s only the surface of it. 1976 saw the release of “Ramones,” “Boston,” “Station to Station,” and “the Runaways.” The Beatles were six years gone, Bob Dylan was beginning to show he wasn’t perfect, and Led Zeppelin was closing down. The Beatles the first band to prove that the album format could succeed, even with albums filled with original music. After that, nearly every band tried to rebel against music by creating an identity that was purely their own. The Ramones invented power chords, KISS and Alice Cooper wore make-up, Led Zeppelin were sloppy, AC/DC were tight, Black Sabbath sang about robots and suicide, and bands like Queen, Blondie and Fleetwood Mac all had their own, distinct sounds.

Petty, and the Heartbreakers, rebelled against that by not really doing anything original at all. Their music has never been showy, never grandiose, never Earth-shattering, and that’s what makes it so good. Classic rock can be exhausting, when “Freebird” gets followed up with “Iron Man” and “Dazed and Confused.” But when “American Girl,” or “Free Fallin'” comes on, it’s a sigh of relief. The Heartbreakers were one of the most successful classic rock bands that never tried too hard. Their songs are simple, just straightforward rock songs that could easily be by anyone, if you couldn’t immediately tell they were by Petty. Petty was a trailblazer in repetition. I don’t listen to much rock radio these days, I imagine it’s just filled with Nickelback and Stone Sour, but in a weird way, they have Petty to thank. the Heartbreakers often wrote rhythms that weren’t straightforward, but still simple – and have been copied. Petty was one of the first to know that rock music could just be what it is, as long as it’s catchy and memorable. And that’s why he’s now swimming in money and publicity. Petty rode a middle road – making music that was neither too sloppy or offensive to turn off a traditional crowd, but not dull enough to turn off new rock purists, either. And he’s still going, playing it. In short, Petty was one of many to help put the system of rock in place, but was one of the only who realized he could rig it, too.

the Heartbreakers released an album last year, “Hypnotic Eye.” It has an average of 77 on Metacritic and was the band’s first ever #1 album. This blog started but never finished a review, as I never found anything to say that wasn’t already being said. It was a great album, it was what they do best – straightforward rock. They’re still going, 39 years after their debut. They’ve essentially outlived the Strokes and the Red Hot Chili Peppers, who have both been flirting with irrelevancy for years now. And Sam Smith’s questionable reviews from the get-go might prove tough for the future, even with the Grammy sweep. In 1976, rock music was finally fully forming, it was finally done being molded by Paul McCartney, Muddy Waters, Robert Plant, Freddie Mercury, and countless others. Petty was one of the only ones that picked a safe stance (you could argue that AC/DC did too). He’s still playing sold-out shows, and is one of the few holdovers from the classic rock era: Springsteen, McCartney, the Eagles and Fleetwood Mac are still going strong, but that’s about it. My advice to young musicians is to always take the road less taken; but Petty didn’t, and he’s made an entire career out of it, to the point where he’s constantly being ripped off. We might eventually phase out the more showy classic rock, but we’ll never lose Petty. Keep going, Tom, you’ve earned it.

-By Andrew McNally

Post-Grad Music Reviews is run by Andrew McNally. Comments can be left below, questions and angry responses are welcomed at amcnal817@gmail.com

A few words on Marilyn Manson’s “The Pale Emperor”

Grade: B-

Key Tracks: “Third Day of a Seven Day Binge” “The Mephistopheles of Los Angeles”

I have a distinct memory, in 2007, of downloading the lead single from Marilyn Manson’s ’07 album “Eat Me Drink Me,” called “Heart-Shaped Glasses.” I downloaded it, and realized that I was a seventeen year old grabbing a song from someone who relevancy had left behind years ago. I don’t know what I did next, but the realization of adulthood crept in so I probably bought a checkbook or scheduled a doctor’s appointment by myself or something. It’s now eight years later, and Manson’s name has been written into the history books as a somewhat flash-in-the-pan shock-rocker from the 90’s. But it’s time to make that edit.

I wasn’t planning on reviewing this album. I didn’t even know if I’d listen to it. I keep a running tab on new albums throughout the year and listen to whatever I can – Dylan’s covers album isn’t on Spotify, and Mark Ronson wasn’t tickling my fancy today, so I just threw on “The Pale Emperor,” remembering it had been getting more press than his previous few albums. I don’t know the last time I listened to a Manson album in full; I’m not positive I ever have. But I’m glad I did, because I’m finally getting the Marilyn Manson I’ve always wanted to hear – the real Marilyn Manson, the real Brian Warner.

My problem with Manson was that it never seemed real – he wore weird make-up, but so did Alice Cooper. He sang about hating people and culture, but so did everyone else. He sang about sadistic things, but so did Black Sabbath, and Iron Maiden. And when school shooters started admitting their love for Manson, he was forced to break facade and tell people not to do that. His music was meant to shock, but it was way, way too melodic. Whistle “The Beautiful People” to yourself right now. I bet you can. The Dead Kennedys were more violent and sloppier, and you can’t say that Manson would strike any nerves musically that Nine Inch Nails or, hell, Merzbow hadn’t already.

Manson fell into irrelevancy, once we all accepted his existence and decided to turn him into the butt of jokes instead of the envelope-pushing musician he was trying to be. And although the band has been releasing albums this whole time, “The Pale Emperor” is the first time we’ve seen Manson as a musician. The album doesn’t always turn the volume up; it’s poetic, melodic and, at points, bluesy. It’s even occasionally a little fun, even in it’s darkness. These feel like the songs that Warner – not Manson – has been sitting on for some time, waiting for a time to record. Maybe he waited too long, but they’re a welcome change for someone who had outplayed himself and his band.

Manson sounds like he’s actually having a good time on this record, and it’s a fun we can all engage in. It’s not all great, and it’s not overly memorable, but it’s a side of the band we’ve never seen before. Song titles like “Slave Only Dreams to Be King,” “Birds of Hell Awaiting” and “The Mephistopheles of Los Angeles” sound like typical Manson, but they’re not – because he’s not aiming for radio anymore. Manson – and the band – have finally hit the point where they don’t have to fight for hits any longer. People are either in it for the long haul, or they’re not.

I was never onboard the Manson train, I was a little too young, but this album excited me. I’ve always seen the band’s problems being the forefront of their music and their actual music on the backburner, and that’s finally switching. I titled this review “A few words on Marilyn Manson’s “The Pale Emperor”” because I wanted to talk more about his legacy than the album itself (and because I didn’t expect to go on this long); I’m not that familiar with his discography and how different this album really is. But it is a breath of fresh air from a musician who is finally able to be comfortable with himself. No forcing, no goals, and only the theatrics he wants – “The Pale Emperor” is still a dark, heavy album, but it’s finally one by Manson’s standards, not one by society’s.

-By Andrew McNally

Kyle Kinane – “”I Liked His Old Stuff Better””

Grade: A-

Key Bits: “This Track is Not Called 8 Ball” “This Track is Not Called Dopeman”

Comedy is tough on people that aren’t young. Kinane, at age 38, isn’t old, but you wouldn’t guess it. In his new special, he relates himself to the elderly via buying shelled nuts and fighting a battle against them. Kinane struggles with approaching middle age in a few segments, lamenting being “closer to the end than the beginning” and “tailgating your own funeral” at one point. One of the album’s best jokes lies in how Kinane finds himself reading signs out loud when he’s driving alone, imagining his brain is running diagnostics (“weird, bored Dad shit”). Jokes about burning his laundry and throwing change in the trash make Kinane uncomfortable with how his mind is seemingly rapidly degrading.

Age works in the other direction, too. Two of the album’s best bits are semi-repressed memories from his early 20’s – one, of a house party ruined by a confusing, out of place cop, and the other about the accidentally felonious blowjob he got behind a grocery store. Rarely do stand-up specials have themes that can run through the whole special, but Kinane manages to relate nearly every joke and story to the aging process. And the few bits that don’t, including saying “God bless you” to a cat and recounting his parents searching to find his interview in an issue of “Hustler,” land just as well.

What makes Kinane unique is his voice, both in the physical and metaphorical sense. Kinane has the gruff voice of a lumberjack who just slammed down a glass of whiskey (and he very well could be). Comedy Central hired Kinane to record their promos, he’s the voice you hear in their commercials (i.e. “Next Wednesday on an all new Broad City”). And his ‘voice’ is one that’s weirdly optimistic. Although much of this special is self-deprecating, Kinane always has the choice in his humor to do mean jokes, but almost never opts to. There’s an upbeat rhythm in his voice, that grabs the listener. Even if he’s talking about coroners hitting on women at a party or dropping a brick on a frog, he has an aura to him that makes it feel like things are going to be okay. I can’t say there are many comedians like that.

“”I Liked His Old Stuff Better”” is Kinane’s third special, and it follows in the trend of pointless track titles. His first two specials had bits that were named after songs by Cheap Trick and KISS, respectively. This special is all of the songs from “Straight Outta Compton,” preceded by “This Track is Not Called [track title].” It makes remembering bits for later a little difficult, but it doesn’t give away bits like other comedians would (my favorite comedy album, John Mulaney’s “New in Town,” has a bit titled “Asian American Woman” that gives away the big punchline).

“”I Liked His Old Stuff Better”” is an excellent comedy album, that proves Kinane is one of the funniest and most interesting people in comedy today. I’ve already listened to it a second time.

If you like this, try: Marc Maron. But since anyone familiar with Kinane obviously knows Maron, I’ll say Eugene Mirman’s “God is a Twelve Year Boy With Asperger’s.” I might say that because that’s the album I jumped to after listening to this last night, but the two comedians do share a voice that’s more welcoming than most other people in stand-up.

-By Andrew McNally

Sup, Muscles? – “More Feelings”

Grade: A-

Key Track: “It Totally Would Have Happened”

In an ever-growing emo scene, bands have to become more and more adaptable – twinkly guitars and lyrics about basements aren’t going to cut it anymore. It’s becoming a bloated scene, and bands have to find ways to stand out from the crowd. Pittsburgh’s Sup, Muscles? come ready to answer the question. While sticking to emo principles, their debut EP comes alongside less straightforward songwriting, dual vocals, and occasional saxophone.

Sup, Muscles? bill themselves as having a female lead singer (Molly Spear). So when the opening track, “I’m Resilient” starts, it’s surprising to hear a man singing. But after about a minute and twenty seconds, the song re-energizes itself and Spear takes over. What follows is a song that is both rhythmic and despondent, in a way a lot of emo bands aren’t entirely capable of achieving. It’s both fun and utterly desperate. The same goes for most of the five-track EP. The band balances different emotions instead of just playing an onslaught of sadness.

The band, consisting of Spear, Jacob Campbell (guitar/vocals), Trevor Wedekind (guitar) and John Paul Zigterman (drums), creates their appeal in the music and it’s songwriting. Three of the five tracks have tempo changes where the band essentially stops and regroups before various increases in volume/speed. It’s a little much, but it works on a track-by-track basis. It works the best on “Danica,” where the track does literally stop for a moment, before warping into something else. The songwriting is also a little math-y at times, complex and changing. “Drinking Alone Can Only Take You So Far” and the climax of “Something About Ghosts” offer the most intense moments, the former courtesy of rough energy, and the latter of dual, battling screams.

For the most part, the band focuses more on music than lyrics, but they do offer little slivers of wasteful gold. The climax to closer “Something About Ghosts” has singer Campbell screaming “I am a ghost” while Spear is screaming “You’re the living.” It’s a particularly affecting double line, especially considering that the lyrics prior aren’t the aspect that grab you.

“More Feelings” is a promising debut. It’s got more to offer than most by-the-books emo groups: dense music, tempo changes, reliance on screamed vocals. It never quite decides on a tone, and that’s fine, because it creates a bit of a disconnect. It makes the music feel like the band is trying not to care, even though they do – you know, like good emo. Spear’s songwriting is strong, and the band is creating music that is consistently surprising. The tempo changes do get a little exhausting, but Sup, Muscles? are clearly a band that take the time to perfect the uniqueness of their songs. It’s tough to break out into emo these days, but “More Feelings” is a solid start.

Listen for yourself here.

If you like this, try: House Olympics’ “…And My Mind is Restless,” another emo EP that relies on heavier vocals.

-By Andrew McNally

Joey Bada$$ – “B4.Da.$$”

Grade: B

Key Tracks: “Big Dusty” “Like Me”

The best thing about great hip-hop is how quickly and effectively it’s musicians can respond to the world around them. “B4.Da.$$” (brilliantly pronounced as “Before Da Money”) follows just weeks behind D’Angelo’s political comeback, “Black Messiah,” and J. Cole’s introspective “2014 Forest Hills Drive .” It’s a little heayv to say that Joey Bada$$ is responding to the world of increasing racial tension around him, considering he’s been prepping this album for two years. But it is more serious, more proud and cognizant than his previous mixtapes.

The album’s best tracks deal with familiar themes – his growing up in Brooklyn. It’s unfortunate that the album, after being prepped for so long, had to come out so close to the thematically similar but lesser “Forest Hills,” and we have to hope it doesn’t get shoved under J. Cole’s bigger name. Opener “Save the Children” and following interlude “Greenbax” handle the toughness of making money as a kid in New York, while closer “Curry Chicken” sees the complete arc, of Joey dreaming of his forthcoming exquisite dinner on a plane – after he’s made money and left the city. “Like Me” is noteworthy, too, a sadly optimistic song about hoping to make it out of the city. “O.C.B.” has an intriguing chorus which rhymes the title with ‘O.C.D,’ ‘ODB’ and ‘OMG,’ over its four lines. Not only is it a really clever quadruple-rhyme, it’s also a meat look at how Bada$$ is a throwback rapper – like ODB in an OMG age.

After a few tracks, it becomes pretty obvious to the listener that the album is as much about the music and the flow as it is the lyrics. Bada$$ is a rhythmic rapper, and his flow is largely impeccable (especially on “Hazeus View”). It’s easier to pick up than the lyrics, which sometimes get swept up in the music (although, ironically, the album’s hottest verse comes from Raury on the track “Escape 120”). And since this album has throwback qualities, that’s not a problem. The music itself is often reminiscent of old school hip-hop, with more instrumentation than just beats. “Belly of the Beast” starts with a sudden string crescendo, and “O.C.B.” has a background low brass, at times. Production from J Dilla and the Roots help give the throwbacks an authentic feel. Although the music isn’t always the focus, Bada$$ pulls it off with consistent honesty.

The biggest fault of the album, and the only one that isn’t easily overlooked, is it’s runtime. At over an hour, there’s more crammed into the album than we need. Few songs stand out from the others, and it feels like it was designed that way, so we just get too much. It could stand to jettison three or four songs and it would be just as strong. For a debut album, it’s too bloated. But otherwise, it’s an album that shows progress for the already hyped Joey Bada$$. He pushed the album back so he could gain some notoriety and cred, and the maturity shows (plus, he waited until his 20th birthday to release it. Happy birthday!). “B4.Da.$$” isn’t going to be one of the best hip-hop albums of the year (especially when we’re staring down “View From the 6,” “RTJ3” and whatever Kanye’s planning), but Bada$$ has proven himself as one of the better young rappers in the scene. It’s the first in a year that promises new albums from A$ap Rocky and Chance the Rapper. 2015’s off to a fairly strong start, let’s hope it keeps up.

-By Andrew McNally

Meghan Trainor – “Title”

Grade: C+

Key Tracks: “3am” “Like I’m Gonna Lose You”

Like many pop songs, you’ve probably heard “All About That Bass” on the radio and thought, ‘I bet her album is all like that, but a little worse.’ “Title” is a solid debut for Trainor, in that it sees her properly explore different influences beyond most debuts. But, it ends up being hurt by the very same thing.

If you’ve seen pictures or videos of Trainor, or seen/heard “All About That Bass,” you’d think she has a pseudo-bubblegum pop vibe to her. The album’s first song, a cutesy 25-second vocal interlude (???), does nothing to dispel that. And the third track, after “Bass,” called “My Future Husband,” doesn’t exactly sway away from it either. But Trainor does show off a number of talents – on “3am” she adopts more of a doo-wop/soul quality to her vocals. She does try her hand at rapping, successfully on closer “Lips Are Movin” and unsuccessfully on the horribly titled “Bang Dem Sticks.” And she does pull off two ballads – the mid-album sleeper “Like I’m Gonna Lose You,” with John Legend, and “What If I” later on. Otherwise, the album is topped off with pop/R&B mixes that vary from catchy to overlong to forgettable.

As of now, it’s safe to say Trainor is known as the “All About That Bass” girl. And to her credit, that’s somewhat unfair. Trainor might only be 21, but she’s been making music independently for years. And it’s also unfair that with that song’s ever-increasing popularity (including a surprising Grammy nod for Song of the Year) mixing with her brief time in the actual industry, she might be stuck with that title. What makes Trainor’s debut more interesting than other debuts is also it’s downfall – lack of identity. By combining bubblegum pop, R&B, hip-hop, etc., we get a full array of Trainor’s talents, but we don’t really get enough of each to really know who she is as a singer. I’ve discussed this before, especially in dealing with Ariana Grande, who is having the same problem (in an opposite way). To be a female pop singer in 2015, you have to have a persona. Beyonce, Adele, Lorde, all have the personae to match the music. Trainor is still forming one (although already further along than Grande), and having a hit as big as “Bass” this early might end up being detrimental to her. Although “Title” is interesting as a debut, and Trainor’s superb songwriting skills are on focus the whole time, it isn’t consistent enough to produce a proper image. And as far as her lyrics go, she aims throughout the album for feminist anthems about body positivity and owning oneself – but a simple Google search leads to articles of how problematic “All About That Bass,” “Dear Future Husband” and “Title” are, among other tracks. The image she’s trying is one straight out of Nicki Minaj’s “Anaconda” (more a coincidence of time than an actual influence) but isn’t nearly as crafted.

There’s a few different ways to look at “Title.” On a purely musical standpoint, it can be seen as a fun collection of songs that mix throwback rhythms with modern vocals. It can also be seen as a marvel of songwriting from a talented young woman. Or, it can be seen more in-depth, as a varying, frustrating collection of songs that each try so hard to be unique that they end up uniform together. It’s tough not to look at it lightly, tough not to glaze over its flaws. So where “Title” has some pop highlights, it struggles from problematic and contradictory beliefs, and a lack of an image in Trainor. She’s certainly a talented songwriter and a versatile performer, and there’s promise on “Title.” The whole package just isn’t there yet.

If you like this, try: Into diverse pop? What a time to be alive. Into problematic female performers? Azealea Banks.

Sleater-Kinney – “No Cities to Love”

Grade: A-

Key Tracks: “Price Tag” “No Cities to Love” “Bury Our Friends”

Confession: This isn’t my first review of 2015. That belongs to Meghan Trainor’s “Title.” But do you know how cliche the metaphor is to start the year with a review of a debut? No, the first review of the year needs to be something more momentous – a comeback (and one that fits in well with my recent post on feminism in music, something Trainor does *not* fall under). So here, one of the biggest comebacks a blog like this could ask for – the first Sleater-Kinney album in 10 years.

Sleater-Kinney never really gave us a reason for their hiatus in 2006. It just seemed like they suddenly appeared, and suddenly disappeared. So, nine years after, it seems just as odd that they’d come back, especially given their successes – Janet Weiss has since played with the Shins, Wild Flag, Stephen Malkmus, and the densely uncrackable trio Drumgasm; Corin Tucker has found solo success; and Carrie Brownstein has found mainstream success as one-half of the largely improvised IFC show Portlandia (as well as Wild Flag). But 2015 needs Sleater-Kinney more than Sleater-Kinney needs 2015. We’ve caught up to their third-wave feminism; their leftist politics may have been “radical” for music in the 90’s (sad) but sound more anthemic today. There’s a revolution looming, and we’ve left Sleater-Kinney’s throne open for their welcome return.

Nearly needless to say, it’s an incredibly successful return. While Sleater-Kinney have never been a challenging band, their varying albums do rely on the listener to interpret the music, rather than the band. And for a band that’s woven through indie rock, riot grrrl and classic rock, “No Cities to Love” feels like a retrospective, that lets the listener reflect on which Sleater-Kinney exactly they’re listening to. Although “No Cities to Love” often sways sonically towards an indie S-K, it packs punk punches, and it’s brimming with energizing, political lyrics that are seemingly banned from indie otherwise. S-K’s political and social lyrics have never sounded fiercer, stronger, and Tucker’s vocals have a catchy scowl to them that entice the listener into their fury.

The album starts, by no coincidence, with “Price Tag.” The band sound like they’re restraining energy, not wanting to exhaust the listener from the get-go; but the lyrics about overspending on both political and personal levels rival the most ferocious and specific lyrics Against Me! or Sonic Youth could dream of. “A New Wave” matches the album’s catchiest, bounciest music with equally anthemic lyrics. “Surface Envy”‘s lyrics about making and breaking rules might sound a little tired, but S-K always have a way of putting out their own spin. And late-album highlight “Bury Your Friends” isn’t as political, but looks at the apathy of burying and reviving friends and idols (kind of like early songs by, well, Sonic Youth).

Musically, “No Cities to Love” leaps around. The title track is one of a few songs that’s outright catchy, with the band exploring its indie side. But “Surface Envy,” “No Anthems,” and “Fade” are all aided by a heavier, denser sound. Brownstein’s guitar is heavy throughout, reinforcing her importance and virtuosity in the guitar world. “Hey Darling” sounds like an indie track but has an unexpected heavy guitar, and “Surface Envy” has a dissonant chord running through its verses. “Bury Our Friends” even takes on a more mechanic tone at times, sounding more rehearsed and intentionally repeating than other tracks.

The Sleater-Kinney we get in 2015 is a mix of previous Sleater-Kinney’s, and it’s necessary blending. Indie and punk have come a long way in 10 years, and can go hand-in-hand now (whereas separated by sharp divides in 2005, unless you were Karen O or a member of Sleater-Kinney). “No Cities to Love” is rarely uneven, often totally complete, and serious in its beliefs. Comeback albums are tricky, but I don’t think there was much doubt that Sleater-Kinney could succeed in a world even more in need of political anthems. Leftist, catchy, angry and energetic, “No Cities to Love” is exactly what you want from a Sleater-Kinney album, just in the year 2015. Setting the bar high early, we’re 1-0 in great albums so far.

If you like this, try: Aside from rechecking your teen angst, rehanging posters you had in your bedroom in 1998, and remembering why you picked up a guitar in the first place, check out Potty Mouth’s 2013 debut, “Hell Bent.” Although more outwardly punk, Potty Mouth owe a lot to S-K’s feminist indie-punk sound.

-By Andrew McNally

(Okay. 1-1. Meghan Trainor review to be posted later.)

Best, Worst and Everything Else of 2014

2014

2014 was surely a year. I heard a lot of great albums, I missed a lot more. Really, I missed a ton of albums this year, guys, really didn’t do my one job right. Over on the Filtered Lens I compiled two “official” reviewer’s Top 10 Songs and Albums lists, but here I’m going stretch out, take off my tie and be totally personal. Here’s the crap I liked:

Top 10 Favorite Albums of the Year:

10. Andrew Jackson Jihad – “Christmas Island” (Review)
9. Tinashe – “Aquarius” (Review)
8. Future – “Honest” (Review)
7. Run the Jewels – “Run the Jewels 2”
6. Pharmakon – “Bestial Burden” (Review)
5. Modern Baseball – “You’re Gonna Miss It All” (Review)
4. Interpol – “El Pintor” (Review)
3. the Menzingers – “Rented World” (Review)
2. White Lung – “Deep Fantasy” (Review)
1. St. Vincent – “St. Vincent” (Review)

(Honorable mentions: Lana Del Ray’s “Ultraviolence,” Parquet Courts’ “Sunbathing Animal,” Perfect Pussy’s “Say Yes to Love,” Lakutis’ “Three Seashells” and The World is a Beautiful Place & I Am No Longer Afraid to Die’s “Broken Bodies,” which originally sat at #7 until I decided an EP in a list of LP’s didn’t fit)

And now for tonight’s main event, my totally subjective, completely personal 30 Best Songs of the Year, regardless if they were singles or not:

30. FKA twigs – “Video Girl”
29. Andrew Jackson Jihad – “Temple Grandin”
28. Run the Jewels – “Close Your Eyes (and Count to Fuck) [feat. Zack de la Rocha]”
27. Parquet Courts – “Sunbathing Animal” (Album Review)
26. Prince – “FUNKNROLL” (Album Review)
25. Foxygen – “How Can You Really” (Album Review)
24. Courtney Barnett – “Avant Gardener”
23. Andrew Jackson Jihad – “Children of God”
22. Lakutis – “Too Ill For the Law” (Album Review)
21. Jeremih, YG – “Don’t Tell ‘Em”
20. The Creeping Ivies – “The Creeps” (Album Review)
19. White Lung – “I Believe You”
18. MisterWives – “Reflections” (EP Review)
17. Jessie J/Ariana Grande/Nicki Minaj – “Bang Bang”
16. Pharmakon – “Bestial Burden”
15. Beck – “Wave” (Album Review)
14. the Menzingers – “In Remission”
13. Phantogram – “Fall in Love”
12. Tinashe – “2 On (feat. ScHoolboy Q)”
11. Nicki Minaj – “Anaconda”
10. Sia – “Chandelier”
9. the Menzingers – “Rodent”
8. Interpol – “All the Rage Back Home”
7. St. Vincent – “Rattlesnake”
6. Bruce Springsteen – “The Ghost of Tom Joad”
5. White Lung – “Drown With the Monster”
4. Phantogram – “Black Out Days”
3. Grimes – “Go (feat. Blood Diamonds)”
2. Future – “Move That Dope (feat. Pusha T, Pharrell, Casino)”
1. St. Vincent – “Birth in Reverse”

Here’s a link to a Spotify playlist of 29 of these songs (the Lakutis album “Three Seashells,” which has song #22, is not on Spotify)

And here’s thirty more songs I loved (but not enough to rank), in alphabetical order, by artist:

Aphex Twin – “180db_[130]”
Iggy Azalea – “Black Widow” (god, I’m sorry)
Beyonce/Jay-Z – “Drunk in Love”
Big Data – “Dangerous”
Bleachers – “I Wanna Get Better”
Cardinal Cardinal – “When I’m Not Alone”
Clean Bandit/Jess Glynne – “Rather Be”
DJ Snake/Lil’ Jon – “Turn Down For What”
Drake – “0 to 100/The Catch Up”
Foxygen – “Can’t Contextualize My Mind”
Ariana Grande/Iggy Azalea – “Problem”
Maroon 5 – “Maps”
the Menzingers – “I Don’t Wanna Be an Asshole Anymore”
Milky Chance – “Stolen Dance”
Modern Baseball – “Fine, Great”
Bob Mould – “I Don’t Know You Anymore”
the Orwells – “Who Needs You”
Parquet Courts – “Ducking & Dodging”
Tom Petty & the Heartbreakers – “American Dream Plan B”
Shakira/Rihanna – “Can’t Remember to Forget You”
Sleeper Agent – “Waves”
St. Vincent – “Bring Me Your Loves”
Taylor Swift – “Shake It Off”
Tove Lo – “Habits (Stay High)”
the World is a Beautiful Place and so on and so on – “If and When I Die”
You Blew It! – “Surf Wax America” (Weezer cover)

Superlatives:

Best guest spot: 1) YG on Jeremih’s “Don’t Tell ‘Em”
2) ScHoolboy Q on Tinashe’s “2 On”
3) Pusha T, Pharrell and Casino on Future’s “Move That Dope”

Worst guest spot: Eat the cake, anime

Best cover song: “Surf Wax America” – You Blew It!

Best two bands that are great but I still have a little trouble telling apart – You Blew It! and Modern Baseball

Most Irritating Song of the Year: 1) “Lazaretto” – Jack White
2) “Rude” – Magic! (sorry, I know that’s a big blow to the Canadian reggae scene)
3) “Animals” – Maroon 5

Best Person to Wish He Were Born in a Different Generation and For Us to All Agree: Jack White!

Best Jack White Album: The Black Keys – Turn Blue! Fight me.

Best Free U2 album: an illegally downloaded copy of “The Joshua Tree”

Best Classic Rock Album Overshadowed by U2: Tom Petty & the Heatbreaker’s “Hypnotic Eye.” Sorry, AC/DC, Pink Floyd and Bruce.

Best Prince: “Art Official Age”

Worst Prince: “Plectrumelectrum”

Best Death Grips Album: “Run the Jewels 2”

Worst Death Grips Album: “N****s on the Moon”

Best Unplugged Performance: Red Hot Chili Peppers at the Super Bowl

Worst Unplugged Performance: Probably any other Red Hot Chili Peppers performance

Best “Chinese Democracy”: Pink Floyd’s “The Endless River”

Best Adjective Mike: Killer Mike

Worst Adjective Mike: Fat Mike

Best Album That Made Most Reviewer’s Top 10 Lists That I Didn’t Listen to Because Ariel Pink is a Shithead: “pom pom” – Ariel Pink

Most Intentionally Terrifying Song: “Bestial Burden” – Pharmakon

Most Unintenionally Terrifying Song: “Lock the Door” – Robin Thicke

Best/Worst Song Titles: Aphex Twin

Best Band Name: The World is a Beautiful Place & I Am No Longer Afraid to Die

Worst Band Name: The World is a Beautiful Place & I Am No Longer Afraid to Die

A song that I would like to let you know exists: “Got Me Runnin’ Round,” a collaboration between Nickelback and Flo Rida. Seriously.

Potential albums to look forward to in 2015: Sleater-Kinney – “No Cities to Love” (1/20)
Two Gallants – “We Are Undone” (2/3)
Father John Misty – “I Love You, Honeybear” (2/10)
Hot Sugar – “God’s Hand” (2/24)
Heems – “Eat Pray Thug” (3/3) (solo debut from the Das Racist frontman – keep an eye out for this one)
Modest Mouse – “Strangers to Ourselves” (3/3)
Madonna – “Rebel Heart” (3/10)
Wale – “The Album About Nothing” (3/31) (Yes, the collaborative album with Jerry Seinfeld)
Chance the Rapper – “Surf”
Death Grips – “the powers that b”
Run the Jewels – “Run the Jewels 3” and “Meow the Jewels,” the cat version of “Run the Jewels 2”
2015 also might hold new albums from Kendrick Lamar, Sky Ferreira, Beyonce, Adele, Drake, Metz, Radiohead, Rihanna, Kanye, Deafheaven, Frank Ocean, Waxahatchee, and Giorgio Moroder’s first album since 1992, if we’re lucky.

See you with even more cynicisms next year!

-Andrew McNally

(PS – this is, by sheer coincidence, this blog’s 200th post!)

Sorry Guys, Women Won Music (Again) in 2014

Man, us men really spent the year treading water. As 2014 comes to a (well-deserved) close, and we discuss the best and worst in music, one thing in evident – women really lead the way. Women released better songs, better albums and had more progressive things to say than men did. So although men can boast, dick around and talk big, it was women that paved every path this year. Aloe Blacc was the man? Well Beyonce was Flawless. From Laura Jane Grace to Ariel Pink, Wiz Khalifa to Mish Way, both men and women helped women become the beacons of music in 2014.

2013 was an exceptional year for women in music, too. I almost wrote this article last year, but I was then too devoted to keeping this blog strictly reviews. It’s amazing to think it was only last year that unknown teenager Lorde nearly overtook Robin Thicke for biggest song of the year. But where 2013 was all about new acts establishing themselves in new niches of music (like one Crutchfield sister in Swearin’ and the other in Waxahatchee, both redefining punk), 2014 was all about the big names taking sides and taking stances.

2014 began on December 13th of last year, when “Beyonce” dropped unexpectedly. Not even the album’s guest stars knew there was an album coming out. Only Beyonce could have a release that huge, that unannounced and that coherent. It would go on to champion a year full of feminism and sexuality where women dominated, with only minimal exceptions.

Women Dominated Albums

“Beyonce” may have been the year’s best album (if you count it), but it was one of just many great albums from women. Charli XCX and Nicki Minaj followed in Beyonce’s path and released December albums – a month usually reserved for contractual-obligation Christmas albums. Tinashe and FKA twigs released two of the year’s best debuts, two R&B albums that establish each singer’s other-worldly confidence. And speaking of other-worldly confidence, the year’s best album unabashedly went to St. Vincent. Annie Clark’s guitar-drenched songs of surveillance and snakes were nothing else we heard all year, in both scope and confidence.

Taylor Swift did something usually disastrous for musicians and switched genres (Remember “Forever“?). But she went passive, attacking armchair critics on “Shake it Off,” not coincidentally one of the year’s best/biggest songs. “1989” was a big mess of a pop album that convinced many people (myself) that there really is more there than angry break-up songs.

Another one of the year’s best albums came from Lana Del Ray, who listened to criticisms and improved her music in every way. “Ultraviolence” was dark, brooding and seductive – a 60’s minimalist pop work that’s ready to defend itself from Youtube comments. With songs like “Fucked My Way to the Top,” Lana owned her identity, to the chagrin of many. In comparison, Sam Smith provided one of the year’s best songs – “Stay With Me” – but struggled to find his own musical identity, with a lackluster debut and less of a personality than his minimalist pop peers.

And this brings us back to last year’s minimalist dear, Lorde. Lorde didn’t release any music in 2014 save one song, “Yellow Flicker Beat.” But the song came from the soundtrack to the recent Hunger Games movie, a soundtrack she was assigned to curate. That, itself, is a huge deal for anyone – especially someone still in their teenage years. And, she chose people of a like mind – CHVRCHES, Tove Lo, Tinashe, HAIM, Bat For Lashes, Charli XCX and Grace Jones (!!!) all make appearances.

Women Dominated Songs

“I got one more problem with you, girl”

“I go on too many dates / at least that’s what people say”

“Fuck the skinny bitches in the motherfucking club”

Women seemed to rule the radio this year, too. The year’s best songs and most provocative lyrics belonged to women. Let’s look at these three examples – Ariana Grande dominated the charts this year, with no bigger song than “Problem,” with Iggy Azalea. It was a horn-blasting, bombastic pop song influenced by DJ Mustard’s production but without any unnecessary DJ attachment. Taylor Swift tossed critics askew in a side of her we’ve never seen before, and Nicki Minaj rallied against pro-look pro-anti-feminists. “Anaconda” was one of the year’s best songs – she took a comedically remembered hit from ’92 about the male gaze and repurposed it into a song about female body positivity. What’s better than that?

Elsewhere, there was the female talent showcase of Jessie J/Grande/Minaj on the excellent “Bang Bang,” a song that’s just about bangin,’ and it’s great. It’s just a fun, upbeat pop song that shows off some talent. Grimes’ only contribution to 2014 was “Go,” a crazy, pseudo-steampunk song that reflects your every mood when you listen to it. Katy Perry’s “Dark Horse” might not be one of the year’s most revered songs, but it tied Janet Jackson for most weeks at #1, and it’s just another notch in her book.

Women Owned Feminism & Sexuality

So let’s talk about the most important woman of the year, alright? Laura Jane Grace, of Against Me! In 2012, after Against Me!’s miserably regressive “White Crosses” album, Tom Gabel announced that he was going to start living as a woman, Laura Jane Grace. Grace joined Janet Mock and Laverne Cox, among others, in a year where the transgender movement finally came to a public eye. So Against Me!’s 2014 album, “Transgender Dysphoria Blues” opened a wide audience to a previously closed movement. And while the album had some weak points, tracks like “True Trans Soul Rebel,” “Unconditional Love” and “Drinking With the Jocks” illustrate Grace’s struggles with gender identity in the way of some of Against Me!’s most abrasive lyrics yet.

And while we’re on punk, two of the year’s best feminists were Mish Way and Meredith Graves. Mish Way’s band, White Lung, released one of the year’s best albums in “Deep Fantasy.” The album is heavy and real from start to finish, but it’s centered around its second best song, “I Believe You,” a song that’s written from the POV of a surprisingly understanding friend of someone who’s admitting they’ve been sexually assaulted. The song is both musically and lyrically the heaviest thing they’ve done, and it’s one of the year’s most important minute and 42 seconds.

Meredith Graves, of Perfect Pussy, had a busy year. Perfect Pussy’s debut, “Say Yes to Love,” was secretly modeled off the line, “Why do we say yes to love?” The album has a feminist tone throughout, with Graves frequently taking on the established male punk precedent (if you can hear the vocals). Punk music needs a reason to be energetic; Graves and co. don’t hold back about that reason.

Outside of the band, Graves published essays on being a woman in the music industry, comparing Andrew W.K. to Lana Del Ray, and on male pattern violence after Mark Kozelek made an unnecessary, public feud with the War on Drugs.

On the sexuality side, it’s easy to say that sexuality in music as all about confidence – whether it’s outward, like Beyonce’s “Drunk in Love,”  Nicki Minaj’s “Anaconda” – or sultry and subversive – FKA twigs “Video Girl,” Tinashe’s “2 On,” this year was full of strong, confident women, and it’s been a joy of a ride. Keep it up, 2015.

There Are Always Exceptions

Of course there’s exceptions. With Azealea Banks finally getting to release her excellent debut, “Broke With Expensive Taste,” came some harassing, homophobic Twitter rants that diminished credibility. (I won’t link to them – know that they’re out there).

She also started an ongoing feud with 2014’s most problematic female, Iggy Azalea. For those of you reading this, by now you’re surely at least familiar with the name – she had a number of huge hits in the summer – “Problem,” with Ariana Grande, “No Mediocre,” with T.I., and her own songs “Fancy” with Charli XCX and “Black Widow” with Rita Ora. I have to admit, from a music standpoint, I think they’re all great songs. But I wish I didn’t know anything about her when I listen to them. Azalea is Australian by birth, British by upbringing, and whiter than a jar of Hellmann’s. But she raps in a fake, black Southern accent (see: Atlanta) to mimic those who “influence” her. She’s trying way too damn hard and yes, it’s really racist. And yes, she has dropped the N-word.

Lana Del Ray also sparked some controversy by saying she would rather talk about space travel than feminism. The degree to which it’s just to fit in with her old-money, Gatsby-befriending persona is debatable, but it’s something that was said and can’t be forgotten.

Katy Perry and Miley Cyrus also made trouble with some serious, continuous cultural appropriation, done for their own “artistic benefits.” Both artists have remained silent when asked by fans to stand up for actual black issues like Ferguson.

But Here’s What Men Did This Year

Men accomplished little this year, in terms of music (and most other things). As always – exceptions. Pharrell’s “G I R L” album was a great, feminist work (and acted as an unintentional apology for “Blurred Lines”). Perfume Genius’ song “Queen” was one of the most honest, heartbreakingly rattling songs of the year. Patrick Carney, of the Black Keys, had a year spent on the offensive where he called out people like Jack White for their actions. And, artists like John Legend and J. Cole led the movement to recognize the need to acknowledge Ferguson, with ?uestlove adding that we need more Bob Dylans and Rage Against the Machines – artists with political motivations. But for every Run the Jewels, there’s at least one Eminem, so let’s look at men being men:

Eminem. Eminem released a song where he threatens to punch Lana Del Ray. Why? To what purpose? Eminem is 42 years old, and his fight for relevance includes threatening the most passive, pacifistic singer you can think of? That’s not intimidating. If Eminem wanted to stay popular, he’d retire and let his record speak for itself. Or, he could actually focus on the quality of his music, since he hasn’t had a good song since “Lose Yourself” (arms spaghetti) and his 2014 contribution was a Shady greatest hits compilation no one asked for.

Mark Kozelek. Sun Kil Moon’s 2014 album “Benji” was remarkable, but the 47 year old singer is also fighting a losing battle with aging, as he started a one-sided, unnecessary feud with the War on Drugs, a band that has looked up to him, and has taken no part in this imaginary feud. It all culminated with the admittedly silly and meta but still homophobic single, “The War on Drugs Can Suck My Cock.” The fact that these attacks are unresponded to amounts to nothing more than Kozelek trying to prove his manliness and yelling at a crowd that isn’t listening.

Ariel Pink. Human clickbait Ariel Pink’s 2014 album, “pom pom” made a lot of year-end lists. I didn’t listen to it. Ariel Pink called out Grimes, for some reason, calling her “stupid and retarded,” insults I never realized people used after the age of 12. Pink said he was contacted by Madonna to record for her new album only to say she’s been on a big downward spiral. Madonna’s publicist said he was lying, that she had never heard of him. Downward spiral? Meet Ariel Pink.

Robin Thicke. Thicke! Thicke was quiet in 2014, but he wasn’t trying to be. Black metal bands be damned, the creepiest album of 2014 went to “Paula,” Thicke’s in-depth, hyper-specific public apology to his ex-wife. First week sales counts: USA – 24,000. UK – 530. Australia – 158. 158 copies in Australia didn’t crack the Top 200.

Phil Rudd. For a band that sings constantly about manly stuff like rocking and violence, AC/DC’s first controversy didn’t come until this year, when drummer Phil Rudd was arrested for trying to hire a hitman to kill his wife. The band was as shocked as it’s fans, where was this rock and roll stuff in 1977?

Future killed the good fortune he’d set up with one of the best albums of the year, “Honest,” by admitting he cheated on Ciara and by guesting on the atrocious “Pussy Overrated” with Wiz Khalifa. Jack White did interviews where he groomed his image by verbally attacking respected artists like Adele, the Black Keys, and even Meg. Chris Brown got arrested a few more times, and had the gall to release a song about disloyal girlfriends. I could keep going on about men in music, but these are the biggest examples. Most of the best music of the year was done by women, and women made the bigger stories. They’ve had to, because to be anything less than extraordinary is going to get them shelved under male musicians. Let’s keep this going. 2015 should be the return of Adele, and Beyonce might even give us another album. We’re starting on the right foot.

-By Andrew McNally. Inevitable responses can be directed to amcnal817@gmail.com. Article can be reprinted or referenced, with citation. Feel free to remove links if ya do.

Crying – “Get Olde/Second Wind”

Grade: B

Key Tracks: “Bloom,” “Bodega Run”

To people who have never heard Crying, this double EP is something really new. To fans, it’s very literally not new. The first half is just a reprint of last year’s “Get Olde” EP, combined with a new “Second Wind” EP. So it can’t technically be labeled as an album, and the combination does not answer the listener’s question of why this was done in the first place. Still, “Get Olde” is an excellent EP, and their blend of emo, indie and chiptune is incredibly unique.

What separates Crying from Run For Cover Records labelmates like, say, Pity Sex or Tiger’s Jaw is definitely, unequivocally the use of the digital, video-game-y sounds. It’s a primary focus of their music – the main instrument on every track. Sometimes it’s shrill, sometimes it’s melodic, other times it doesn’t seem to fit and you wonder if you’re going to get a break from it. Luckily, Crying take it upon themselves to differentiate every track, so their unique sound doesn’t become an automatic staple after the first go-around.

It’s easy to describe Crying as a chiptune band, one instrument is literally a Game Boy. But where other bands have experimented with this before, they’ve never roped in such unexpected lyrics. Similar bands often take goofy tones, mimicking the video game world they’re trying to engross. But Crying sing on a real plane – real people in a real, crushing world. “Vacation” namechecks Costco and flip phones, proving they’re living in a globalized society. And frequent references to bodegas cement the band as New York apartment-dwellers, not suburban basement-surviving nerds. It’s a distinction, because Crying’s music has a dense aura to it.

Both EP’s have their up and down moments. They both end on slow tracks (“ES” and “Close,” respectively), and neither really works that well. But both EP’s have honest and devastating lyrics, often delivered in Elaiza’s exasperated vocals. And while “Get Olde” stays right by the Boy’s side, “Second Wind” lets up some room for some drum (“Easy Flight”) and some guitar moments (“Batang Killjoy”). The second side is more varied and denser than “Get Olde,” although the band is more consistent in the release’s first half. I’ve been on to Crying for a while now; their first full-lengthed release is an extremely interesting listen. It isn’t perfect, but it’s still a fun, desperate mess, and it’s a promising release for the future.

-By Andrew McNally