Folk is big these days. At least it was there for a bit. Between the Avett Brothers and Mumford and Sons, it seemed the world was ready to step away from the auto-tuning and enjoy music that’s more than 65% real. I hope that’s still going on. I don’t follow the world closely enough to know anymore.

If folk is big, then the Armadillos should be big too.

This is a band that really knows their shit. They wield their instruments masterfully, which is all the more amazing considering their instruments include things like accordions, tin flutes, mandolins and cellos. Wrap this all up with amazing skill and some amazing voices and you have folk gold on your hands. Honestly. The Armadillos are my 8th most played band for the past year, even though I only own 8 songs by them.

The album seems to inhabit the period between the end of the Revolutionary until the industrial revolution gripped America. Even though there are a fair number of years between those two events, the album seems a solid, cohesive unit. This is more than just half-hearted nostalgia, though. These artisans have crafted some amazing songs that feel period, even while being spruced up with tempos and instruments not native to the time. When I listen to Yorktown, for example, I’m not thinking about the Armadillos. I’m thinking about Yorktown, and what it would be like to be on that battlefield.

Admittedly, some songs have me more than others. I adore Eleanor. So, so, so much. I’m also quite partial to Devil’s Rag, and of course York Town. Some songs don’t have the immediate appeal of those three, but are still utterly lovely songs. The only song I’m not partial to is the Donner Party, and I admit it’s exclusively because I’m a weeny. I can’t just listen to it as a song. No, I must imagine what it would be like to be forced to eat a friend, neighbor or acquaintance due to starvation. It kind of bums me out, contemplating if I’d eat my best friend, and thus, I don’t listen to that song.

But can we focus on Eleanor for a minute? The song is utter perfection. From the opening mandolin to Sheila’s voice, it’s just so much. It’s so good. And the lyrics? They flow beautifully. There’s not a phrase that catches or a questionable verb. I don’t talk to many people, and few enough of them have a penchant for folk music, but by God I make people listen to this song.

Here. Go listen to them now. Right here. Don’t go to Myspace to listen to them. You click on them, Myspace ignores your request and starts playing Rihanna on J-pop. Best to skip that entirely and go to the bandcamp page. Bonus, once you decide they’re amazing and awesome and such, you can buy it. Right there. Whoo, convenience.

What to Expect?

The most amazing Revolutionary War/Industrial Revolution inspired indie folk of your life. Listen. Listen and be well.

What to take away?

The Armadillos should have more songs available to the public.

What drink to pair it with?

What to quaff with this album? A truly dizzying question. Whiskey and water, most likely. If that’s not up your alley, drink some Yuengling, if you’re lucky enough to be in a state where it’s available. I’m not, anymore.

Favorite song?

Eleanor. Eleanor for the win. Seriously. This song is among my favorite songs ever of all time. Go listen to it, and it’ll be one of yours too.

This is an important album in the library of any Zevonite. It’s the end of an era, a beautiful final album by an amazing musician with the help of many brilliant, talented and famous friends. It’s truly a lovely album. I just don’t like it that much.

Heresy and blasphemy, should the High Priest of Zevon hear of it, my life is forfeit.

That’s not to say I hate the album. Some songs are just utter perfection. “Dirty Life and Times” is an amazing song, the lyrics in “Disorder in the House” are witty and amusing (the couch of despair later turning into the davenport of despair is particularly amusing). Numb as a Statue and Prison Grove are utterly captivating, and Keep me in your heart is breathtakingly depressing.

The album is packed with guest musicians: Jackson Browne, Jorge Calderon, Tom Petty, Ry Cooder, Emmylou Harris, Don Henley, David Lindley, Timothy B. Schmit, Tommy Shaw, Bruce Springsteen, Billy Bob Thornton, Joe Walsh and Dwight Yoakam.

And yet, despite all of this, I never find myself wanted to listen to The Wind from beginning to end. I always just want to pick out those four songs that I adore and ignore the rest of them. Music is amazing, though. Spent four years skipping over “Carmelita” when it would come on, and then one day I realized Carmelita was an utterly amazing song. Listened to it on loop for days. Perhaps I’m just not there yet, and in a couple years the rest of this album will catch up with me. I hope so.

What to Expect?

Warren Zevon, all over the board. From rough bluesy Rub me Raw to light and delicate Don’t Leave me, this album runs the gamut of Warren Zevon’s repetoire.

What to take away?

As the final album of Warren Zevon’s career, this album is a must for Zevonites. You will love some of the songs on it. I just don’t think every song on the album is meant for every Zevonite. We might have to split into separate congregations over this album.

What drink to pair it with?

Skip the drink, pair it with your favorite sandwich, and enjoy the hell out of it.

Favorite song?
Numb as a Statue to me is the cream of the crop, though Dirty life and times is also amazing beyond reason.

This album is solid. There are some songs I’m not crazy about, but only one that I want to murder. That’s better than most albums.

Generally speaking, I like the less poppy stuff the best, which incidentally means I like the country sounding songs the best. I also prefer story telling songs over love songs. Regardless, Jewel is an amazing writer, and even the songs I don’t like post-recording I appreciate on paper.

I really think Jewel feels confined by the pop genre. Her best songs are ones where she ignores the rules. Rambling stories with intermittent choruses. I love music like that: Warren Zevon, The Mountain Goats, they don’t care if they drop a chorus, a verse or a bridge. Or all three. Jewel is at her best when she works the same way. And when she breaks out that twang.

She uses some words and imagery multiple times. I’m ignoring the normal words like articles, common nouns and common verbs. Most notably repeated words are: barbed wire, neon, disco, and vain. Two songs mention a man with his hands in his pockets, and two songs talk about problems seeming small while in an airplane.

But, seriously. The word neon comes up a lot in this album. It’s amusing.

If you do the math, this album gets an 80%, and the average song rating is a four. Not bad, Jewel. Not bad at all.

As for something to drink while savoring this album? That’s where things get tricky. Perhaps a rhubarb wine. Sophisticated yet slightly rural. Sweet and uncommon.

yeah, rhubarb wine.

If you ever wanted a John Steinbeck character to crawl from his novel and take up the life of a travelling musician, then Jack Klatt is your man.

I’m honestly at a loss. This man is amazing. His growling baritone. His amazing writing. His ability to remake old songs. The expert of the musicians. The growling trumpet so aptly placed in most of the songs. It’s all perfection.

It’s been ages since I’ve been so smitten with a new musician. Every couple months I look to see if he has a new album, and when he doesn’t I swear and hope for next time. I can only hope others catch onto his brilliance, because I want him to be able to dedicate his life to making amazing music, and making it available for me to purchase! He could be my next Warren Zevon, my next Mountain Goats. I just need more than 10 songs! Please Jack Klatt?

This album really has it all. Alt-country, folk, blues. From up tempo songs about losing it on wall street to tender songs of love and life. I’d highlight my favorite songs if every song wasn’t my favorite. If you like folk, any kind of folk, go listen to Jack Klatt. Right now.

What to Expect?

The best damn folk/blues you’ve ever experienced. Why haven’t you bought his album yet?

What to Take Away?

Jack Klatt and the Cat Swingers is an amazing band. It’s pure bliss.

What Drink to Pair it With?

Best would be some homemade wine or moonshine, but I don’t have any of that around. In lieu of that I’d have to say bourbon, straight up.

Favorite Song?

Oh man. This could turn into a bloody death match. There’s something about “Ruckus on Wallstreet” that’s just so seductive. Once that song starts I just have to listen to the whole album. “Sweet Maureen” is also amazing, and the line “she screws like a bullet coming out of a gun” is among the best I’ve ever heard. “Anywhere I Go” is slow, sentimental, soulful, and generally not the type of song I’d lose it for. And yet it’s one of my favorites from the album. It’s just so beautiful. The other seven songs on the album tie for second place.

It seems lately that I’ve been filling in the gaps. Bands or musicians who tickled me pink in the past, well, I felt the need to go make sure I had everything they had to offer.

This may have not been the best of ideas.

The most recent gap filled is in the catalog of Jenny Lewis.

My affair with Jenny Lewis started poorly. Namely, “Does he love you?” was on a mix CD a friend made for me. I thought it was boring. I then categorized both Rilo Kiley and Jenny Lewis as “Boring”.

Many years later i finally decided to try out some Rilo Kiley. This was during my study abroad in Denmark, and now Rilo Kiley is my personal soundtrack to Denmark. That translates to Rilo Kiley seriously stealing my soul for those 4.5 months.

I moved on to Jenny Lewis with the Watson Twins‘ “Rabbit Furcoat“. And it was good. Amazingly good. If someone would have described that album to me prior to my listening to it, I would have been skeptical at best. Jenny Lewis, mostly acoustic music, singing folk/alt-country songs, with twin gospel harmonists accompanying?

I’m glad I didn’t get the opportunity to become skeptical.

So next on my acquisition list was Jenny Lewis’ “Acid Tongue“. I was expecting the same as “Rabbit Furcoat”.

It’s not the same. It’s not even close.

I mean, it’s not terrible. It doesn’t leave me wishing for unconsciousness. But it’s not good either. The music is overly simple, and so is the singing. The lyrics don’t strike me as particularly powerful, witty, or interesting. There is no hook at all. It’s like tepid water.

I find the first two songs without much merit at all. I often have a hard time sleeping with music on because I find myself more interested in the music than sleeping. The first two songs would not interrupt my sleep at all (a bad sign).

“The Next Messiah” picks up the tempo a bit. Electric guitar and a steady drum beat come into play. Jenny Lewis’ vocals are more energetic than in the first two songs…but the whole song still feels uninspired to me. Something doesn’t mesh quite right, and I would describe the song as more or less boring, despite the upped tempo.

The middle and title track “Acid Tongue” reminds me the most of “Rabbit Furcoat”. Great harmonies. Sincere vocals. simple, well done acoustic instrumentation. For me, this is the most stand out track on the album.

“See Fernando” is a good follow up. It’s higher energy. The music and the vocals mesh well. And the song effectively makes me want to go see Fernando.

“Carpetbagger” is an okay song. 7.5 out of 10, if you will.

The rest of the album is of no interest to me.

What to take away?

Acid Tongue is less inspired than Rabbit Furcoat. I generally find it boring.

What to expect?

Watered down Jenny Lewis, falling short of her best.

What drink does it most resemble?

Lukewarm watered down tea.

I’ve been a fan of Our Lady Peace since I was in 9th grade. Spiritual Machines had just come out, and to my angsty teenage mind their new single “Life” seemed like the most poignant song in the history of mankind.

I then went out and bought every single album in their catalog. Bought. Legitimately bought. I was in love.

This love was not short lived. It flourished and thrived and with every new album came a gleeful trip to the store. 2006 was the last year an Our Lady Peace album was released. I keep looking, though. Fingers crossed, hoping.

There hasn’t been any.

Raine Maida must have been sensing my inner turmoil, and to appease me he released a solo venture.

Only I missed it.

2007 saw his solo album “The Hunter’s Lullaby” released, but I didn’t see it until a little while ago. Sometimes I get so bogged down with music I end up missing those musicians I love the most.

Luckily, my co-conspirator on this website asked me if there were any albums I wanted. He was placing a music order (for real, honest, tangible CDs). I ran through my staple loves, looking for new music. First time I’ve done that in a while, and was intrigued to see new Raine Maida. I mentioned it, and Jacob was good enough to get it.

If you’ve never thought of combining folk and hip-hop, you’re probably in good company. Thankfully, that company doesn’t include Raine.

The album is definitely distinct from the music of Our Lady Peace. Raine takes to talking for most of the album, falling into a 1970’s performance poem kind of feel.

This fits perfect since Raine writes very poetically driven music, and hearing it presented in this manner feels perfectly natural… Except I feel as if Raine really wanted to rap, but knew that it just wouldn’t work out well for him. I can sense restraint in his talking/singing. I’m okay with it.

Elements of folk and hip-hop merge seamlessly here on this album. Acoustic instruments and hip-hop drums. Piano. Strings. This album really covers the gauntlet, though the folk and hip-hop are really the most overwhelming of influences.

The album also has a song that fills into my niche playlist of “clapping”, which makes me happy. More on that later.

The album is a solid album, in my opinion. I just have one minor qualm: it’s just a bit more than ‘chill’, but just shy of being ‘high-energy.’

I wish the tempo of most of the songs was upped just a bit. As always, this is just my personal preference. I like fast. I like high-energy. Or, I like music that I can happily nap to. This doesn’t really fit either bill, but I still definitely enjoy.

This album also may contain the only song to mention the creators of South Park. Positively. Raine Maida is Canadian, but apparently thinks nothing of an occasional jab at his heritage.

What to take away?

This album is nothing like Our Lady Peace, but that’s okay.

What to expect?

Folk and hip-hop with Raine Maida talking over it.

Drink to pair with it?

I feel like this music is perfect for a cafe, especially a European one. But black coffee doesn’t fit the bill. I’m going to have to say a Hot Toddy. I think Hot Balzam and Black Current Juice.

Favorite Song?

It’s gonna have to be the single “Yellow Brick Road“. It’s one of the faster paced and catchier of the songs on the album. If more of the songs on the album had a similar tempo to this I’d be extremely pleased.