grip weeds Archive
Too often, various-artists tribute albums are like celebrity roasts: it’s far less about the ostensible honoree, and for more about the roasters (or, in this case, “tributers”). And I’m on record stating my assertion that few tribute projects add much of value to the music. But there are exceptions, and they make the whole concept
Here we go again. I’ve long held that various-artists tribute albums are by definition uneven. Some acts try to take the songs too far from their essence, stripping the songs of whatever made them special and noteworthy to begin with. Others are too slavish by half, effectively adding nothing to the discussion, making what amounts
I’ve got lots of new music to tell you about. Eighteen albums in all, which I’ll cover over three days. Let’s get started. The Brigadier – Wash Away the Day Imagine a hybrid of mid-sixties Brian Wilson, the Raspberries, Brill Building girl group pop (sung by a guy) and the Rubinoos. Now add a dash
My march through the CD backlog in my office continues today with quick (100-word) looks at five new albums. Though the artists themselves might not always welcome the classification, these are all what I consider powerpop (or guitar pop, if you prefer). Fans of the genre will recognize some of the names as exemplars of
Longtime fans of The Who may agree that despite its piecemeal nature, Odds and Sods ranks among their best efforts. Freed from the constraints of a unifying thematic approach, that album instead collected a bunch of excellent songs that hadn’t gotten the attention they deserved upon original release. And that’s the approach employed by The
The 1980s and 90s saw the rise of a rock subgenre/movement dubbed the “paisley underground.” Populated by groups who bowed at the altar of mid-period Beatles and the other finer psych-rock of that era, many of these groups were called to task by critics for their (some said) too-slavish devotion to the sounds of old.