Rank: Songs on Foo Fighters Wasting Light

In the six pages of madness I forgot this part of my review. Easy to do.

I love superlatives. I love lists. I love the numbers of organizing things in order. As a kid, when I would play with my matchbox cars, I would first rank them from worst to first and put them in a line. I would play with the ones I liked least first and look forward to the time when I would be able to play with my favorites in ascending order. Oh, metallic red cop car my grandmother gave me...where are you?

Fun shit.

Here is my ranking of the songs on the Foo Fighters new album:

1. Bridge Burning
2. A Matter of Time
3. Arlandria
4. Walk
5. White Limo
6. Rope
7. I Should Have Known
8. Dear Rosemary
9. These Days
10. Miss the Misery
11. Back & Forth

Those that are into this feel free to chime in with yours. If even five or so people do it, I'll make an aggregate ranking and post it in this here blog.

Foo Fighters Wasting Light Review

The new Foo Fighters release (it’s been four years since 2007’s Echoes, Patience, Silence and Grace) stays true to its namesake, Wasting Light, a lyric taken from the ninth classic rock track on the album “Miss the Misery.” It’s clearly Grohl and company referencing getting the most out of your days, your life and fulfilling your soul’s genuine desires. Carpe Diem, rockers!

Always looking to shake up the bottle kinetically building for the latest pop explosion, the Foo Fighters made a few dynamic throttle adjustments this time around. 1) They enlisted famed producer Butch Vig (known best for the power-crunch of Niravna’s Nevermind) 2) They added a third guitar to the mix with original Foo Fighters and former Nirvana guitarist Pat Smear (last appeared on Foo Fighters’ second album The Color and the Shape) 3) lastly, the album was recorded not only away from Studio 606, but all analog (remember tape, y’all?) in Dave Grohl’s cloistered garage.

What ensued is an album, which in catalog stature, holds parallel firepower to Green Day’s American Idiot. No, there won’t be a Broadway show, eye make up, or pandemonium driven album sales (that doesn’t actually happen anymore!?), but critically, commercially and perhaps interpersonally, this album revives a band that had become viewed by others (not this guy) as slightly stagnant.

Rock ‘em, sock em’ knob turner Butch Vig did an excellent job straining the Foo Fighters vast recording aspirations to the two or three things they do best. Crunching guitars. Thundering teeth gritting drums. And stadium worthy catchy rock choruses. The K.I.S.S. method never sounded so simple.

I see the relationship between Grohl and Vig during this process being very similar to Lou Brown coaching Willie Mays Hayes in Major League. Stop swinging for the fences, put the ball on the ground and use your God given speed, Wesley Snipes. Pushups for Mays Hayes when a pop up is in the air, split screen, with Dave Grohl rewriting a guitar line that, and to quote Dave Grohl’s impression of Vig, “was not heavy enough.”

This may not be the best album the Foo Fighters have ever recorded, but it’s a straight forward collection of rock songs that when strung together, consecutively, 11-strong, rivals The Color and the Shape. It’s at least in the conversation. A conversation that ends, “can’t you see I’ve waited enough?”

Yes, yes I did. I’ve been waiting my whole life for this album. And thank you.

And now for the song-by-song breakdown for those that like graphic detail...

Bridge Burning

The Foo Fighters are the unchallenged kings of the big, building, exploding showers of confetti rock opener. This is no different. This song breaks structural boundaries, much like a previous off-beat opener they did, “All My Life.” It kind of makes you scratch your head with a deadpan look and say to yourself, “is this a song?” Ha.

I would like to break this down like a classic rock opus as I believe the structure and time changes are astounding. I’m just giddy that this song is on an album. It’s just outrageous!

I: Into (0:0 to 0:45): Sliding guitar riff, huge building drums, absolute bone chilling scream of “these are my famous last words!!!!”

II: The Settle (0:45 to 1:08): As the confetti falls, the band settles into a restless, yet easy going choppy and loose muted riff. Kind of like a star point guard dribbling the ball at the top of the key, reading the defense. You know movement will follow. Unless it’s the KNICKS! HEY-O!!!

III: Uphillage Chant (1:08 to 1:30): This actually has to parts as well. A) Alliteration and repetitive beat chanting like a village of pillagers ransacking a pillage of villagers. B) The village of pillagers charge up the hill as tone and drum beat begin to escalate into a serious trot. Everyone screams and raises their sword.

IV: Pride Stamp (1:30 to 1:41): This just beams with pride. The lyrics are kind of like an ex-lover’s letter of anguish. Dr. G hits you with “whatever keeps you warm at night”, and Taylor echoes the sentiment, followed by a similar “whatever keep you warm inside,” and a building scream.

V: The Chorus (1:41 to 2:10): Yes, this is the chorus. It rings back and forth (pun not intended originally) like a nursery rhyme, like say…”London Bridges.” It’s catchy like you know the tale from your childhood, but actually you’ve never heard it. To top it off, they added a psychedelic backing vocal to make it seem like Pink Floyd is reading Mother Goose.

Reprise opening riff, reprise part A of “The Settle” (2:10 to 2:26)

VI: The Angry (2:26 to 2:38): This is my favorite part of the song. The Foo Fighters move away from “The Settle (reprise)” and become an angry punk band. It’s different than “Uphillage Chant” because it already has the anger and kinetic rock energy from the song. It just kind of punches you in the face with “tell me what’s in it for me/tell me NOW what’s in it for me/nobody’s getting this for free/so tell me what’s in it for MEEEEE!” So delicious.

Reprise “Pride Stamp”, reprise “The Chorus” (2:38 to 3:18)

VII: Gathering the Ashes (3:18 to 3:42): This also has a very visual aesthetic combined with the nursery rhyme alliteration to make a stunning visual of “gathering the ashes”…I dare you to not think of someone picking up the pieces from all the rocking that has taken place in the song. Not to mention there is a ticking clock pace to the whole thing that’s quite unsettling. Even though it sounds good, the frantic pace of gathering the ashes…can only last so long. Like a defusing of a bomb scene. Build, build, build and cut away.

Reprise “The Chorus” (3:42 to 4:05)

VIII: Bridge Burning Montage (4:05 to 4:33): Mainly a mash of “The Chorus” with “Gathering the Ashes”, but it kind of feels like everything you’ve experience throughout the song being flashed at you like a grand finale. Just a bam-bam-bam throwing everything at you. No room for air. Just fireworks. Like an 80’s montage scene in fast forward. John Cusak makes a cameo.

A big rock finish (4:33 to 4:46): Just the classic “Bridge Burning” riff and huge drum outro from Taylor Hawkins wraps this thing up.

I guess it’s safe to say I REALLY like this song. It really is like a sketch comedy movie of songs (like how Monty Python and the Holy Grail is a bunch of sketches tied together for a movie), only not funny…just ROCK.

Rope

I covered this song months ago as it was the first single and pretty much ALL I listened to for a month. This one song.

This is the sexiest song on the album. The blend of Dave Grohl and Taylor Hawkins’ vocals is at their peak of their creation. I’ve been waiting for Dr. G to give Taylor some “Rope” literally, and let him flex those classic rock pipes. This is the best example of why they should do this.

The Rush timing as the song winds up and spins out is uncanny. I also enjoy the drum fill bridge given to Taylor. It’s pretty much a gift to Taylor Hawkins that became a gift to Foo Fighters nation. Everybody wins!

Dear Rosemary

Every band has their influences. I always enjoy listening to a band and then discovering a band that influenced them, because it puts you on a trip of realization like “wow…THIS is where they got THAT from.”

Husker Du is that band for the Foo Fighters. If you’re a Foo Fighter fan, it’s imperative that you listen to a couple Husker Du albums. It will throw you for a trip. Much of the Foo Fighters percussion over the years is pretty much ganked from this band.

That’s why it’s awesome that they got Bob Mould, lead singer of Husker Du, to appear on this song. Grohl has a habit of inviting his idols/friends/colleagues to the studio to jam as a way of fulfilling his dreams as well as making great music. Think Josh Homme, John Paul Jones, Norah Jones, Khaki King, etc.

Again, this really worked incredibly well. Their voices blend together with splendid meticulousness. It just sounds like a couple of guys that enjoy each others’ music having a blast. The fun blasts off the pages and into your headphones. Mould’s backing vocals are grizzled, yet pleasantly poppy. It packs freshness to a Foo Fighters recording that would otherwise require a good set of Tupperware.

Seriously, get out and get some Husker Du, if you learn anything from this experience.

White Limo

Waaaaaaaah wit yo bad self!? That seems to be the chorus. You gotta love that! I also covered "White Limo" in depth in my preview of the album. The greatest thing about this song is it’s an obvious tribute to the first album screamers “Weenie Beenie” and Wattershed.” They were even able to get the verse vocals to sound lo-fi and straight up ROUGH.

This song exemplifies a sound the Foo Fighters have mastered. Before “screamo” became a genre, some bands were actually able to pair screaming and catchy rock in a digestible fashion. It’s remarkable to me in their older songs like “Hey Johnny Park” and “My Poor Brain” how something can be so catchy and easy on the ears and mid-sentence there is a wishbone radiating scream.

White Limo hits this with “WHIIIIIIIIIIIITE LIIIIIIIMMOOOOOOO” or “Allllllllllllllriiiiiiiiiiiiiiiiight” followed by an incredibly catchy “you got something/you wanna try and buy or sell?” I’m actually not sure what he’s saying. Is this a song about an import/exporter? Costanza!?!?

The vocals are so rough and I haven’t found the exact lyrics printed anywhere. Either way, the video has it right—go find yourself a big white limo and if you can’t find a limo, a Cutlass Supreme would work perfectly. Get yourself a bottle of Jack and go for a drive around until you fly off a cliff i.e. Tounces the Driving Cat.

It may not be the most responsible suggestion, but nothing about this song is for responsible non-rocking adults.

Arlandria

Arlandria is a geographic placename, much like Tribeca in NYC, referring to a specific neighborhood between Arlington and Alexandria, Virginia. The song also has a hook that bellows “my sweet Virginia/I’m the same as I was in your arms” which is an exquisite double entendre about this neighborhood in Virginia where he grew up and has nostalgia for, coupled with his mother, Virginia Grohl. Sounds like a great Mothers’ Day present!?

I feel like this song is the unsung hero on this album. It’s quite possibly the best song, although I would like to say I prefer “Bridge Burning” and “Matter of Time”, but this easily could be viewed as a superior cut with the big rock drums and delightfully nostalgic lyrics. In that way, it’s comparable to “Ain’t It the Life” off There’s Nothing Left to Lose, which to me always lurks in the shadows of “Aurora” and “Stacked Actors”, which are often listed #1 and #2 respectively in my personal favorite Foo songs.

When I heard Arlandria as the fifth cut to Wasting Light, I started to believe this could possibly be their best work.

These Days

The opening of this song deke’s you into thinking a ballad is on the way. This is the closest one will get to such “ballad nonsense” on Wasting Light, but it’s a deke after all, and it settles into a nice mid-pace rock song. The tone and sonic darkness make it seem like it’s branded with the black backdrop and white lettered heart of their album 2004 album One by One. Unlike most of that album, the lyrics and hook will burrow right in and make you desire unwillingly to sing-a-long.

I know a band has made a catchy song if I, Ryan C. Zerfas, have a NEED to sing-a-long. Something about this song pulls that same heart chord as “Times Like These” only with an approach more like “Tired of You”, but trading the sharp edge of silence with the serrated edge of somber reprieve.

I can’t help but smile and say…“Yeeeeeah it’s alllllllllllright!”

Back & Forth

This is the worst song on the album. If there is a moment to go grab a beer during the Wasting Light show—this is it! That’s not a bash on this song, but more of a testament to how good the product is as a whole.

I think the verses are incredibly catchy and fun, but once it launches into the chorus, I can’t help but feel I’ve heard this before. In my opinion, “End Over End” and “Resolve” already beat this hook into the ground.

It makes me think of that SNL sketch about Aerosmith where “Crazy”, “Amazin’” and “Cryin’” are all pretty much interchangeable. It’s kind of like that to me.

A Matter of Time

This number storms out of the gate sounding eerily similar to “Bulls on Parade”, but quickly settles into the most uniquely timed song on the album. In many ways, this song reminds me of “Lonely As You” on One By One as it’s a track eight following seven fairly straight forward rock songs. Both songs have awkward time signatures that change pace more than a Girl Talk number and they remain the only two Foo Fighters songs with backing vocal driven choruses. The “ooooooo” and repeating chorus line style backing vocals really takes the spotlight in this number.

The other thing I pick out of this song is another strong influence from their buddy Stewart Copeland and the Police. The “it’s just a matter of time/before/before” actually sounds like MuteMath, who sound like a newer version of the Police. The only thing separating it from said examples is the Grohl/Hawkins heavy metal drum fills, that sprinkle of “Bulls on Parade” from the into like a thundercloud of rock, and, oh yeah, the song ending in a Dave Grohl skin melting scream, “Tiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiime!”

I’d like to see Sting do THAT.

Miss the Misery

When you listen to this one you can’t help but feel it’s spinning from an actual record player. I’m not exactly sure how and why. I feel like this is a song that I’d hear and remember the Foo Fighters 10-15 years from now, yet that’s kind of an oxymoron, because they’ve been around for 16 years, but their original stuff sounded nothing like this. Deep breathe. Get all of that?

I believe this to be the fruition of a band that’s been around for a long time paying homage to themselves as a rock n’ roll stalwart. Kind of like Death Proof was a Quentin Tarantino’s tribute to himself, featuring what almost plays out as spoofs of his other movies. This isn’t as blatant and it’s certainly not as intentional. Grohl and Tarantino are at opposite ends of the genuine/cocky barometer, and yet are both loveable in their own way.

However, in an album playing out like a garage sale of Easter colored kids clothes, this is the bamboo antique coffee table in the corner with no tag. Price check…aisle rock?

I Should Have Known

There has been a revolving theme of comparing this album to The Color and the Shape throughout this piece. One thing that separates the albums is the theme of the music. I love TCATS so much, because there seems to be a theme of “love lost”, which is EXACTLY what I have used that album for in the past. It has traveled through time with me in that way. It has that nostalgia. It got me through an extremely difficult time(s).

Wasting Light on the other hand seems to have more of a theme of nostalgia for the past and braving through it to get the most out of everything that’s left. Exactly what you’d expect from an aging band. It’s definitely more upbeat than TCATS, however, it does have a very emotional closing—like any good relationship that has to come to an end.

For this cut, there was a huge reunion at the Grohl residence. Obviously, Butch Vig from Nevermind was already turning the knobs, and Pat Smear shredding the guitars, but that left one piece to complete the package…former Nirvana bassist Krist Novocelic.

What takes place is certainly the most “epic” track on the album. It opens with a string arrangement much like “The Pretender” and carries you on a journey though a gut wrenching, self realization piece about relationships. It certainly brings a poignant side out of Groh’s songwriting you don’t get too often. It’s a real tear jerker.

The biggest Foo Fighters cliché is saying “hey, that song is about Kurt Cobain.” Sometimes even clichés are remotely accurate. I mean, hypothetically, that is the ONLY way to fully complete this reunion?

Walk

The Foo Fighters are also sultans of the epic album closer. They really have the lock and key to opening an album huge, setting an early tone and then knowing exactly what it’s going to take to close it. If you look throughout their history…they have this mastered.

Foo Fighters epic album closers in chronological order:

• Exhausted – A nearly six-minute closer to the self-titled album with a huge instrumental rock finish. It’s like if Cloudy with a Chance of Meatballs was a 200-page children’s book.
• New Way Home – Takes you through a walk around the boats and the kingdom as you realize you’re going to be “ok.” It employs the “and a little bit softer now” approach finishing with a scream and rock out.
• M.I.A. – Not heavy, epic or long, however, neither was this album. It does have a beautiful chorus with Grohl screaming “You won’t find me I’m going M.I.A!!!” So, in that way it’s kind of cool, because this album actually says goodbye, folks.
• Comeback – Probably the best example of an epic finisher totaling almost eight minutes. Often forgotten about, I’m not sure they’ve even played this one live. Ouch. It employs the fade in, near classical guitar bridge, before returning for the big rock finish. It would be a typical Track 4 for a band like Dream Theater, but for the Foo Fighters, it’s the only one of its kind.
• End Over End/Razor – “End Over End” sounds like a rock out at the end of a Neil Young & Crazy Horse set. Not a bad way to close the “not so soft” side of the double album In Your Honor, and “Razor” works well for the acoustic side as well. It features Josh Homme (Queens of the Stone Age) on guitar and is arguably a song Dave Grohl wrote that made him realize he needed to do a Foo Fighters style orchestra album—much in the way that Bon Jovi can be created with the creation of MTV Unplugged with their “Wanted Dead or Alive” Grammy performance.
• Home – Dave Grohl channels his inner Norah Jones by closing their “return to eclectic” album with an intimate piano and vocal slow dance.

I bring all this up, because I feel “Walk” breaks this cycle. Nothing about the song says to me “ok, this album is coming to a close.” That point is solidified by its selection as the second single on the album, as well as, easily being the fan favorite by most I’ve discussed with thus far.

It does have similarities to “New Way Home” sonically and lyrically. I love the childhood breeze of “Do you remember the days/we built these paper mountains/then sat and watched them burn.” That reminds me of just about every White Stripes song. So, perhaps, it’s perfect.

It also has the big screaming build, much like the cadence of “The Best of You” with Grohl just shredding his voice with short one liners, repetitively. That DOES give you the feeling of an emotional close.

It just wraps up leaving you craving more. Like at a live show when a band finishes their first encore, but you feel there’s a chance they’ll come back out for a second, but then the house lights come on. It’s sad when “Walk” rings out so quickly, because it’s the house lights for the album. Previously, when Foo albums closed, you KNEW that was it, because there was no topping what you just heard for a finale.

When you think about it “Walk” actually does this job magnificently, and is perhaps the best actual song of all these “epic closers”, but it just doesn’t feel way in the moment. Many times, the deepest impacts happen in reflection and that gives this product a lasting power one cannot deny.

At the dinner table we go for seconds when we’re full. Hey, the food is good, help yourself, right? But in this instance, you leave full, wanting more, yet are light enough on your feet to meet today’s challenges.

That is what Wasting Light is about. Bravo Mr. Grohl!? If you need me, I’ll be going for a “Walk!?”

2011 NCAA Bracket Projections

This took much longer to put together than anticipated, but I have finished projecting all regions of the 2011 tournament bracket. They are posted at the Bleacher Report.

By region:
East
West
Southwest
Southeast

Final Four:
Ohio State beats Duke
Kansas State beats Purdue

Championship:
Ohio State 80, Kansas State 79


It truly is the most wonderful time of the year! I hope everyone enjoyed my breakdown and I REALLY hope you get a chance to watch the games. Perhaps, even join me at the Village Pourhouse opening weekend!

Thanks for reading, y'all!

The Legend of Kalin Lucas

One game can change the tone of a season. Yesterday was that game. Here's a tribute to one of my favorite Spartans ever...Kalin Lucas!

http://bleacherreport.com/articles/633674-michigan-state-basketball-the-legend-of-kalin-lucas

Tom Izzo Should Decline NCAA Tournament Invitation

My latest thoughts about the demise of the Michigan State Spartans. Desperate times call for desperate measures...think about the future!

http://bleacherreport.com/articles/630722-michigan-state-basketball-tom-izzo-should-decline-a-ncaa-tournament-invitation

Anticipating the New Foo Fighters Album

“Give me some GRRRRROOOOOOOOOHLLLLL I’m coming Loooooooooooooose….”

As you may know, I tend to get really over-excited about certain things. Tell me something new, right Zerfy? But seriously, this new Foo Fighters album remains my most anticipated album release since I would say, One By One, in 2002 (also a Foo Fighters album), which was the previous height of my Foo Fighters obsession.

The new album is going to be titled Wasting Light and is slated for an April 12 release date. Color me jacked up with some of the bubbly on ice!

At this juncture I have, via osmosis, gathered a great deal of information about this album. First and foremost, it’s a back to basics effort which is scary to me, because it usually means a band is trying too hard (to find themselves publicly again?), which I believe has plagued the Foo’s in the past. Without even trying the grandiose “back to the basics” journey that has failed so many bands previously. At first thought, this could go really well, or really terribly. Simple as that.

Grohl has proclaimed recently for the fans and pundits alike that this turned out to be a “simple, yet massive” album. I have personally heard two of the studio outputs as well as watched countless video’s of every new song performed live in their “introduction tour”, which by the way featured 30 song setlists. Damnit I want to live on the west coast. Ok, I don’t, but the Foo’s put that thought in my head from time to time during times like these (hey-o!). It is nice however to be able to live vicariously through these lucky folks on Youtube. Oh, what a day of technology we live in. I actually would see in some of the videos I was watching, the people that were shooting the videos I just previously viewed. If that makes sense!? CRAZY!?

Anyway…here are some other things I’ve picked up over the last couple of months…

• It’s a front to back ROCK record. No real acoustic guitar or “Next Year” type of ballad will be found. They do, as per usual, have songs that start really slow and build, and/or breakdown in an up-and-down Foo Fighters fashion. But, they don’t let it get too sappy.
• Since There’s Nothing Left to Lose, Dave Grohl has chosen to record in his own state of the art Studio 606, conveniently located a few minutes away from his house. That and the addition of Chris Shiftlett on guitar (No Use for a Name, Me First & the Gimmie Gimmies) are credited with adding an additional polish to their material in comparison to the first two albums. The man plays a smooth guitar. This time around, Grohl decided to record in his garage. The small room and desolate drywall only walls are said to have created a raw, primal, intense sound.
• If that isn’t enough, this baby was recorded without electronics, with a 24-track tape system. The group enlisted famed, detail oriented producer, Butch Vig, who worked with Grohl 20 years ago on Nirvana’s Nevermind. When presented with the idea to record analog (“go analog baby, you’re so post-modern!” --Say Anything) said, “that will take a lot of work, because you then have to play perfect”, and further commented that things turned out fantastic because “they are badass players.” No computers…no bullshit…no protools…no autotune…just Grohl.
• Earlier, I mentioned the slickness that Chris Shiftlett brought to the band, when he replaced Pat Smear, who also worked with Grohl in Nirvana and as guitarist in the Color and the Shape era. He is now a full-time touring, recording, living/breathing part of the band again. Wow that’s nice to see! Also, that means there are three roaring guitar lines at live shows and God knows how many layers in studio.
• I believe this album has a little bit of a Them Crooked Vultures effect. Whenever Grohl tours and spends chunks of time as a drummer, he tends to come into the studio with a vendetta against softer music. They certainly as a band have had a natural ebb and flow, but he wanted to go vicious after playing with Josh Homme a few years ago with Queens of the Stone Age. I think his time again with Homme and of course John Paul Jones (Led Zeppelin) sparked him again to go big…and loud…in other words…go ROCK!

Rope

A few studio samples have shown themselves as to what we’re going to be treated to come April. The single “Rope” came out recently. If you haven’t heard it you can find it here:

http://rope.foofighters.com/

This is just a great rock song. I would never peg it to be a single. The first thing that truly excites me is to hear the blended vocals with Taylor and Dave. I’ve been calling for the band to become more of a BAND, rather than the Grohl orchestra for a long time. As weird as it sounds (pertaining to my Grohl obsession), I think the other Foo Fighters should have more of a hand in things. I like how over the years Grohl has turned the Foo’s into a frat party of harmonious rock jams as opposed to a bunch of guys that help him fill out his demos. The standard is set by giving Taylor split lead on the intro vocals for the first single. YES! Thank you Dave! My prayers have been answered!

With that said, I am blown away by how well their voices blend together. Taylor’s classic rock drawl pureed with Grohl’s smoother rock howl—for a well packaged psychedelic parlay of rock goodness. I can’t get enough. I called for it…and it was received. Then, Grohl growls and the hook ensues, loud and proud, in grandiose Foo Fighters fashion. They do this better than anyone in the biz!

The other thing I love is the riff. It has a huge Rush sound to me. The intro effect is unique and all moving parts seem pretty simplistic, but they are fit together in a way that makes the song sound assertively more complex, without thinking too hard. Everything has room to breathe.

The drumline is all over the place with some nice stop-and-start timings (like my favorite Canadian three piece). When Grohl hits the hook, Hawkins is delicately assaulting the upper part of the kit giving focus to the huge hook, yet the timing is slightly twisted out of focus, allowing a nice layer and piece it back together effect. The middle of the song has a savory drum solo breakdown which will be insanely fun to see live. Again, it’s clear that Grohl is fine turning the keys over to Hawkins and letting the timing of the band revolve around drum kit, which believe it or not has been lacking in previous efforts to rock. I like when drummers write drum songs and this is clearly one of them, only it’s more like the kind Taylor writes, rather than what Dave writes. But, Taylor can’t make it sound THIS catchy, hence where the teamwork and Foo Fighter namesake comes into fruition.

This is a fantastic all around Foo Fighter effort. Nothing crazy. Just a good rock song with all the elements I find endearing in the Foo Fighters. Good start.

White Limo

http://whitelimo.foofighters.com/

Props first of all for the home made video, use of Lemmy (from Motorhead) as limo driver and of course the “Tuences the Driving Cat” finale. There really isn’t anything NOT to like about the video.

The song on the other hand just makes me giddy. It’s certainly a throwback to “Weenie Beenie” and “Wattershed”, songs that pair screaming nonsense with an unexpected catchy hook. This type of song is classic “old school” Foo Fighters and is almost too ridiculous to take seriously. With that said, this turned out remarkably well. Grohl’s vocals don’t sound like anything he’s done in a decade. It’s almost a little bit too raw, but it still works. This song takes a few twists and turns much like the driving of Lemmy in the video, but remains what should certainly be a screamer staple at live shows.

And unlike “Wattershed” and “Weenie Beenie” this offering is slick enough you could almost get away with casually listening to it at a tailgate or something. I say almost. This song is at the top end of the “raw-rockers” on the album and I was absolutely flabbergasted that it was the first studio song to surface from the Foo lair. Indeed, this remarkable pairing with Valentine’s Day really keeps the Foo’s nonsensical marketing fashionably rocksteady.

“White Limo” takes me back to 1995, but with everything I know now. It’s pretty much a dream of a song that I never thought I’d get the chance to hear again. Like if you had the chance to go back to high school (about the time “Weenie Beanie” was a cult classic) and realize popularity, clothes, every person you know at that point…really doesn’t matter. DOESN’T MATTER. This song beams with that kind of reflective confidence. Not the kind of confusion that was found in Quantum Leap when Dr. Sam Beckett would ask Al Calavicci questions and he’d hit his stupid little remote control and it would make that stupid screetch-screaming noise. This is not that. It’s stupid song swagger only the Foo Fighters could pull off.

And I love it. Perhaps, Valentine’s Day isn’t so bad after all!

The Office: A Character by Character Battle for Supremacy

Recently, David Brent stopped by the U.S. version of The Office. You read that right, not Ricky Gervais people…F’in DAVID BRENT. The legend.

With Steve Carell leaving the show just before the impending doom that is the Season 7 finale, they felt it was time to pass the guard. What transcended was compact and quick, yet glorious use of television space. Flawless execution. It left you wanting more.

That is where I come in…

There is nothing like a good showdown. Just ask the band E.L.O. If I were to name my Top 5 television shows throughout history, without a doubt I would have to include The Office, but as two separate entities, for obvious reasons. Though the later version from the Americans was the remake, like all good covers it has taken on an ambience of its own.

So, the competitor, analyzer and mathematician within me wanted to take a deeper look and pin these two powerhouses of television delight head-to-head by character for sake of Office supremacy. Characters can each earn up to 10 points for their respective side and the winning side will have won the most points in the character-by-character showdown. Kind of like a wrestling match. This seems like the best way to shed light on the strengths and weaknesses of their respective programs.

This is the Super Bowl of Zerfas television with only Seinfeld and Curb Your Enthusiasm being the only other programs able to hold their own in my respective television coliseum. And for sake of this piece, let’s pretend they got upset early in the playoffs; much like the Patriots did this year. (I dedicate that joke to the beautiful Melissa Leite)

Introduction

The most glaring difference between the series is sheer number of episodes. The British version has 12 half hour episodes and two one hour specials for a total of 14 episodes. Compare that to the US version which has over 130 episodes to date and over the years NBC has granted them many extended episodes from 40 to 60 minutes in length depending on writers strikes, Olympic games, season finale’s, sweeps week shenanigans, etc.

This comparison to me shakes out like comparing Weezer’s first two albums against their entire own entire catalogue. Sure, The Blue Album and Pinkerton are concise, masterful efforts, but even with some of the duds, I wouldn’t give up some of the moments on The Green Album, The Red Album and Maladroit for anything in the world. Not even peace of mind in pursuit of perfection. This does make for a fun discussion as this concept unfolds through the course of pop culture. What if the Beatles recorded for 40 more years like The Rolling Stones? That is what we have at hand here, on a smaller scale of course.

The purists want to dismiss the US version of the show for many reasons. Some say it has been Hollywood dramatized. Others say there is no way to recreate the Brits fine use of awkward timing and quick wit. Then there are whole communities of Ricky Gervais cults out there who swear by anything the man does as it’s all gold. I believe all of these theories hold some weight, but you can’t write off the Americans just yet. Over the course of seven seasons, a great deal has taken place, and it’s easy to forget all the funny moments as you’d have to sift through them over time to collect them all. I’m here to tell you they ARE there folks.

This character by character analysis could be closer than the experts would think…

David Brent (Ricky Gervais) vs. Michael Scott (Steve Carell)

This was the toughest concept for me to get over as a huge Steve Carell fan…Ricky Gervais is BOSS. Before I had seen the original, I was a big fan of Steve Carell dating back to the Dana Carvey Show (how the hell did THAT show not stay on air?) and previous to my British viewing(s) everyone told me Gervais was the superior boss. As stubborn as I am, it doesn’t take Gervais long to cut through and break down my loyalty walls. His boss is just THAT good.

It’s apparent from the opening lines of the first British Office. It hits you like a pure, cold, brisk wind off Lake Superior. It’s undeniable. The timing is unnatural, yet engrossing. His gesticulations are annoying (like the constant moving of the tie), but plausible. He’s a liar that’s truth remains steadfast like that of George Costanza. He makes you cringe like a car accident you just can’t take your eyes off of. He’s not pretty, yet not repulsively ugly. It’s a magnificent motion of character excellence that rises above the show and all else with floating majestic grace. There is nothing like it anywhere and nobody should even try.

Which leads us to Steve Carell, who flawlessly crafted his own boss character in Brent’s likeness, but without impersonation. It is interpretation without imitation. True THAT. It really is Carell’s own entity that takes over. In an interview when the show first came out Carell said himself,”Ricky Gervais was so good and so definitive…there was no way to replicate or duplicate or improve upon what he did…” Carell finished, “I just figured take a different shot at it.”

I’ve always subscribed to the M.O. “go big or go home”, and apparently Carell subscribes as well. What he lacks in David Brent’s subtleties, he makes up for in genuine spirit. You want to believe in Michael Scott. In a way, Carell brought this character to the next level in the movie Dinner For Schmucks. He’s so sweet and endearing you love him…but he’s just so stupid. Even though the movie wasn’t great, Carell made his character in that movie seem as if Michael Scott was an Olympic training exercise for idiots you love. The antithesis of this character is Ed Harris’ General Hummel from The Rock—characters that are geniuses you love to hate.

Back to the point!? They are both great at what they do. They have a need for attention and just thrive on wanting the spotlight so bad, yet can never handle the necessary pressure, alike. The British show tends to be more obscene for no reason and Gervais can sink to levels Carell wouldn’t even dream of. However, some of that I would attribute to length of the show. Michael Scott has to do work to keep his job, whereas David Brent losses his job in Season 2.

When Brent has to do a report he writes a quiz show (go upstairs get a clue…come back down the stairs…). When Scott has a report, he makes a stupid video (Great Scott productions, classically misused U2 song), but more importantly when asked for the report…he delivers. They had to probe him, but he delivered nonetheless. There is actually proof that Michael Scott was a great salesman and worker, whereas Gervais never had to prove himself in the show. This is the huge character difference in a nutshell.

In my opinion that gives Gervais more room to be crude, crass and the quintessential ass, without the pressure of holding up for seven seasons. I call this Groundhog Day theory. However, the genius of Gervais flies off the screen in an indescribable way. If Steve Carell dares not try, why would I try to make a case for his supremacy? It’s like trying to argue horses are better than unicorns. Even a magnificent stallion can’t fly.

Verdict: Brent |___X_______| Scott (U.K. Office +7) Brent by a landslide! I give Steve Carell points for effort. In any other battle Michael Scott would be a tough out, but David Brent is on another level.

Gareth Keenan (Mackenzie Crook) vs. Dwight K. Schrute (Rainn Wilson)

This to me is the biggest blowout of the bunch. This may separate me from the UK Office purists. I think the strongest part of the American show is Dwight Shrute, and the weakest part of the UK offering is Gareth Keenan. I don’t think Gareth is a bad character or even a weak character. I just think Gareth is more of a “setter” as in he sets up Tim and David while Dwight Schrute is more of a “spiker” on the American show always taking existing jokes over the top…with AUTHORITY.

The greatest example of this is the “sweet, lovey dovey” episode in which Jim and Pam have their baby. I watch the whole episode for the plot in which Dwight K. Schrute infiltrates their home looking for Pam’s I-pod, but instead finds mold. Of course, the natural reaction is for this character to start tearing their kitchen apart, putting in new cabinets, sleeping in their bed naked, hitting on Pam’s best friend and signing baby-making contracts with Angela. So fucking ridiculous, yet it adds humor to an otherwise very heavy episode. Schrute is the driving force of the American Office. If Carell is the glue, Schrute is the flashy packaging that makes the glue have that extra punch of marketability.

Both characters have a natural disposition to be funny. Anybody in life that follows rules with perpetual blindness is hilarious. We have all worked with these mopes. They are hysterical! Gareth really does embody the Forest Gump like military man who relives those days like Uncle Rico (from Napoleon Dynamite) does high school football. You add his sexually charged outward curiosity and it’s and endless setup for funny shit. No question. It works. It works very well. He’s the perfect antagonist for Tim, but there is just something about him that is too annoying for me to like. I just don’t respect Gareth. I don’t think he can carry many moments of a show like a Dwight Schrute can.

I think Gareth’s best scene is the training scene when he’s moving the coffee cup to different places on the computer screen. This comedic timing was amazing and it was all on him as a character. It was true. And actually, my favorite moment in ALL of the Offices is a small moment dominated by Gareth. Tim is trying to mack on the new girl…they are talking…and in a small moment of silence Gareth chimes in with…”snacks.” Epic. It’s one of those things that could be easy to miss and would never make a highlight real, but I live for that moment everytime I see that particular episode. Not even a humidifier could cure the dry comedic air.

Overall, I feel like these moments are too few and far in-between as opposed to Dwight Schrute who can save an entire episode of The Office with an over the top dialogue or gift of physical comedy. Much like how Seinfeld used Kramer. Anytime Seinfeld wanted to venture way the hell out of reality, the vehicle was Kramer. The first time they did this, they used Kramer as a detective. Who else on that show could ransack someone’s apartment acting like a detective?

The same is done in The Office with Dwight Schrute giving him personalities such as Recyclops, safety officer, volunteer sheriff, owner of Schrute Farms bed & breakfast, etc. It got to the point in Seinfeld around Season 5 when the show would come to a screeching halt every time Kramer would make an entrance to a standing round of applause. They actually had to ask the audience to stop doing it as it became quite a distraction to the show. Kramer’s moments rose above the show itself. I feel like Dwight Schrute has the same effect on The Office. He may not be the lead character, but his versatility allows the show to get away with just about anything they write. And Rainn Wilson will execute with flawless precision.

Verdict: Gareth |_________X| Dwight (U.S. +10) Dwight K. Schrute is the horsepower that has made The Office so versatile and viable as a go-to television program for the masses for seven seasons and counting. If you watch Season 1 this was not the case, but the power of Schrute is undeniable. He is the Scottie Pippen to Steve Carell’s Michael Jordan.

Tim Canterbury (Martin Freeman) vs. Jim Halpert (John Krasinski)

The battle of the guys you just can’t help but feel sorry for. This is the most relatable character in both shows, because you just empathize and feel like you’re right with them in dealing with the other nutty characters. Both guys play the control variable perfectly.

This is another match diversely affected by time. You can’t really empathize as much for Jim after he gets everything he wants. He gets 1) promoted 2) gets the girl (a hot one at that) 3) gets married 4) has cute baby. It’s truly impossible to empathize with someone who gets everything they want in life.

This relationship with the character is hard to bear over the seven seasons of the show. Jim becomes kind of a choch as a boss and movie star heartthrob (the latter the show obviously can’t control his rise of fame as an actor). You still love him, but he’s just no longer the shaggy haired quintessential office relatable target. He’s grown up, bought his business suit and takes his pay-checks back to the wife and kids. It’s not bad, it’s just the “chase” is over, everbody knows it and it’s tough to figure out what his role on the show is now. Tough for the viewers and writers alike.

Tim on the other hand is the perfect example of embattled integrity. He fights for the girl time and time again. He even dumps a hot girl for one small punchers chance at the girl of his dreams. That’s integrity folks. He gets offered the promotion to take David Brent’s job and turns it down, because he knows his heart wouldn’t be in it. Wow. He even knows the perils ahead of giving that kind of power to Gareth, but remains steadfast in the name of integrity.

Again, you can’t help but know a character can’t hold rock steady to their guns for seven seasons like Tim did for the short run of the British version. But, you MUST give the man credit for all he endured. I think the greatest Tim scene is when the pregnant lady moves next to his desk (in the reunion episode) and is describing the sexual position she believe the baby to be conceived in. Holy shit, that is awkward! This is the life of Tim “Canterbury Tales” and one can only sigh in his entire disposition.

Verdict: Tim |___X______| Jim (U.K. Office +7) I have to side with my man Tim and his endless pursuit of love and happiness. I do love the glory days of shaggy-haired basketball throw down Jim Halpert, but now those days are gone while somewhere in Slough you know Tim is still pining for Dawn. Sigh. Poor Tim.

Dawn Tinsley (Lucy Davis) vs. Pam Beesly (Jenna Fischer)

As the main love interest for their respective show the first thing you’ll have to compare is straight up sexiness. Perhaps, it’s the American in me, but I believe this first line of business is a hands down advantage to Pam Beesly.

The nature of the character is an understated grace that is very sexy to Tim/Jim, but not necessarily as fetching to the “common man” as would a typical sex symbol. However, it’s just hard to make Jenna Fischer not sexy. In most cases, it’s glaringly obvious she is “dressing down” for the part of Pam Beesly. I’m just the kind of guy that likes that t-shirt and jeans, hair up, natural type of beauty. I much prefer girls going to class just out of bed to the girls on the way for a night out.

That nugget aside, my crush on Jenna Fischer in no way diminishes the torture Dawn Tinsley puts on Tim. Some of this credit has already been given to Tim above, but Dawn has to be good at what she does in order for you to properly empathize with the crucifixion she implores onto him. Ladies if you want a textbook example of how to lure a guy in and crush all his dreams, look no further than the philosophies of Dawn Tinsley. Just merciless execution Dawn.

In that way, these characters are very different. There is no question the British Office is very much a darker look into the motives and unbalance of human existence. Pam is a lighter offering for all the dork lovers out there. Nothing is better than when she gets drunk at the Dundies and surprise kisses Jim or when she gets all corny swinging arms with a “hey-o!”, but again this just seems slightly watered down to the brutal religious ceremony Dawn conducts on Tim.

Verdict: Dawn |___X______| Pam (U.K Office +2) I want to date Pam Beesly, but I recognize the shenanigans that Dawn gets away with, while still being likeable.

Keith (Ewen MacIntosh) vs. Kevin (Brian Baumgartner)

Kevin Malone is a character. Seriously, my biggest issue with him is that he doesn’t resemble any person that’s intelligent enough to function in society. He makes Brick Tamland (Steve Carell in Anchorman) look like Jason Bourne (Matt Damon is always astute), but somehow he’s sharp enough to drum and sing in a band, which we all know is the Ryan C. Zerfas ultimate sign of respect. Respect.

Seriously though, I have a serious problem with this. That is why the best Kevin storyline is when Michael convinces Holly that he hired him because he’s retarded. This is hilarious and should somehow be something legit to this “miss-accusation.”

Other than that, Kevin is a delight.

Keith on the other hand is a dominant force of comedic timing. The genius of Keith therein lies with how little he’s used. Much like the Clint Eastwood dialect method in the Man With No Name Trilogy, Keith abuses the empty space, creating fantastically awkward tension, leaving the audience hanging for what little amount of words he utters.

This is perfectly depicted in his review with David Brent when he’s asked to survey his strengths and needs in a multiple choice survey. The struggle to get him to participate is so eerily like my little brother…it’s uncanny and plain to see. For a character in a sitcom however, it’s just brilliant and should be enjoyed in heaps and bounds. As the moments are few and far between I find myself craving Ali Keith and his “chats” in which he’s eating a fruit that looks like a Styrofoam basketball.

Verdict: Keith |X________| Kevin (U.K. Office +10) This match is as close as challenging a mule to a game of Bananagrams.

Chris Finch (Ralph Ineson) vs. Todd F. Packer (David Koechner)

Speaking of Anchorman (it’s hard for me not to), it’s always nice when Todd F. Packer drops by. The February 24^th episode is titled “Todd Packer” and should give us some more insight to everyone’s favorite William Hung plated traveling salesman. That is the problem with this comparison is Koechner comes off as a tribute to Carell and Koechner in Anchorman rather than an important entity to the show, which he isn’t. Chris “Finchy” Finch however, is.

Chris Finch highlights with authority the severe pathetic nature of David Brent. As his “so called best friend” Finch does nothing more than berate Brent to his face in absolute crudest manner imaginable. We’ve all seen this in action. One person for some reason brands another their BFF, but the writing is clearly on the wall for others to see, yet nobody is crass enough to call shenanigans.

Perhaps, David Brent needs a Kevin Malone?

Verdict: Finchy |___X_____| Todd Packer (U.K. Office +6) Koechner is the master at over the top annoying, but his role isn’t big enough to keep the pace.

The Bosses to the Boss: Neil/Jennifer vs. Jan/Ryan/David Wallace

The extended plotline of the American Office gives much more depth to the plethora of storylines surrounding the management of the unmanageable Michael Scott. Really, what CAN they do with Michael Scott? Jan was medically insane!? Ryan was a hipster druggie. David is a nice guy without a load of better options, yet continues to settle for Scott. He DID allow himself to be worked by Michael Scott Paper Company, but justice is served in the form of walking papers much later. Integrity upheld.

Neil is written as a character you’re not supposed to like. To me, he’s too nice of a guy to dislike and you can’t help but respect him. He however is brilliantly cast as “the jack of all trades” that we all look to expose in life. We all have that guy. Although his shell doesn’t get cracked he provides a formidable foe for Brent and serves time after time a reminder of the pathetic nature portrayed by Gervais. You want to forget and side with Brent, but solid characters like Neil provide a gauge to remind you what you’re seeing is out of whack.

Verdict: |____X_____| (U.K. Office +2)

The Supporting Cast: Malcom, Sheila, Trudy, Ricky, Lee vs. Stanley, Phyllis, Creed, Angela, Darryl, Meredith, Mindy, Ryan

Continuing to beat a dead horse here, 131-14 leads to many more interesting side stories for supporting characters. Over time, numerous people have joined, left and rejoined the American show. Most of the characters are one dimensional, one-line punchers and set up for the prime time players.

For the British, the other characters on the show, you probably don’t even know their names. Perhaps only Malcom, because he exposes the real reason David Brent “turns down” the better job with corporate, leading to another season of the show. And he just looks like an annoying old man you’d never want to work with. Everyone would want to work with Craig Robinson (Darryl).

Verdict: U.K. Supporting Cast |_______X__| U.S. Supporting Cast (U.S. Office +7) Even taking into account the longevity advantage, there is no doubt The U.S. fields a deeper cast. Perhaps it helps that many of these side people are key writers to the show and get credit in my mind for that talent, much like Gervais is granted earlier. That means you Mindy Kaling (Kelly, 22 episodes), B.J. Novak (Ryan, 15 episodes), Paul Liebertestin (Toby, 13 episodes).

The ‘Nard Dog Quotient

There really isn’t a British equivalent to Cornell’s finest product Andrew Bernard. The character Ed Helms has created here just oozes with talent and humorous whimsical candor. He really gives the writers many avenues to peruse like a multi-leveled Barnes & Nobles (R.I.P. 66^th St and Broadway B&S). He plays seemingly every instrument imaginable from the banjo, kazoo, the sitar, guitar and of course his famed Acappella group whose buddies folklore rivals Kramer’s buddy Bob Sacamano.

His wardrobe is a character in itself. I literally cannot wait to tune in every week just to see what ridiculous combination he is wearing. Baby blue sweatervest with a pink shirt…yessh. Also, his anger management strikes very close to home and Ed Helms nails this aspect EVERY…SINGLE…TIME. He’s a perfectly executed character that continues to gain strength on the show. If they are able to move forward without Michael Scott, there is little doubt that Ed Helms will take a lion’s share of the focus. He showed he has the gusto in more way than on in “The Seminar.”

Coach…put him in the game!

Verdict: +10 for the U.S. Office. An unparalleled titan of the industry is on the rise. I hope Cedar Rapids is to Helms as The Hangover was to Zach Galifianakis.

Conclusion

Final Score:
U.S. Office 27
U.K. Office 34

The British win by a touchdown! Via my mathematical assessment the U.K. Office is 11 percent stronger than the U.S. Office. The matchups do not lie.

The purists may scoff at how close this turned out, but I really believe the American Office is a reliable source of laughs and the accurate scope of office culture Gervais and Merchant set out to explore in the original. We’ll never know what would have happened if the first series hit the 100 episode milestone anymore than we’ll know what Jeff Buckley’s third album would sound like.

The song remains the same. The UK version is a tightly executed slice of genius. The U.S. Office has weathered the test of time, in a world where sitcoms aren’t as much a part of pop culture, but The Office has maintained its stamp as an enterprise critics and superfans alike can count on. It’s a better world for having both options…

THAT’S WHAT SHE SAID!?

A State of Shock

The Michigan State basketball team finds itself in a precarious position. I don't think anyone would have predicted this. It's not quite possible Tom Izzo's 13-year streak of making a dance in March Madness will come to an end.

This will not come easily to fans. Especially this one. My thoughts on the state of affairs after another disappointing loss to Iowa (if you remember football season!?). Perhaps, the worst loss I've ever seen.


http://bleacherreport.com/articles/597725-michigan-state-basketball-state-of-shock

Michigan State Basketball: 2011 Campaign Requires Victory in Champaign

This could be the start of something new...or much of the same.

My thoughts on the importance of the upcoming games for the Michigan State Spartans basketball team...

http://bleacherreport.com/articles/577131-michigan-state-basketball-2011-campaign-requires-victory-in-champaign

The 10 Best Albums of 2010

I started doing these lists as early as 2005, (found here: http://zerfman711.livejournal.com/11232.html) when I would draft drivel as the Zerfman’s Zoo on Livejournal. Ahhh, yes, those were the days. Over time I got more into music and writing, and found myself compiling these lists more meticulously.

Consequently, like all bell curve examples, my access and consumption of new music has dwindled downward (perhaps I’m just getting old), but I still feel like I’m qualified enough to list a few albums released during the last calendar year that moved me.

They may just do the same for you!

So in tribute to one of my biggest passions and my only really consistent piece over the years, here are the Ryan C. Zerfas Top 10 albums of 2010.

1. Taylor Hawkins & the Coattail Riders – Red Light Fever

Everyone knows this comes with a certain shred of my own Foo Fighters bias, but this is seriously a killer album. Taylor Hawkins continues to develop as a songwriter, writing more complex and catchy song structures to compliment his grit your teeth, yet jazzy drum style. Sprinkle over the top one of the most underrated classic rock voices you’ll hear post-1970 and the kiddies will be searching for this on vinyl. Dave Grohl and some of the boys from Queen make heavy handed appearances on the album along with the already stalwart guitarist of a man—known only as Gannin. Just Gannin.

Allegedly, a song or two remained on the cutting room floor because, and I quote, “it sounded too much like Queen.”

Best moment: The opening build of album closer “I Don’t Think I Trust You Anymore” which starts with a simple rhythm, and slowly elements work their way in like an ostentatious haunted house ride. Epic.

2. The Punch Brothers – Antifogmatic

According to Chris Thile, “'Antifogmatic' is an old term for a bracing beverage, generally rum or whiskey, that a person would have before going out to work in rough weather to stave off any ill effects. This batch of tunes could be used in much the same way, and includes some characters who would probably benefit mightily, if temporarily, from a good antifogmatic.”

I’ve heard Chris Thile introduced as the “Jimi Hendrix of the mandolin”, but I think it would be more accurate and pertinent to call him the “Ben Folds of the mandolin”, simply because his earnest, humorous, and “heart of gold” songwriting compliments his ability to go absolutely off the radar in musicianship. Much like Mr. Folds.

This album is much more accessible than the 41-minute bluegrass opera The Blind Leaving the Blind which was astounding, but lacked the repeatability one may crave once addicted to Thile. Your life may never be the same.

Best moment: The punchy (no pun intended) chug-and-mute opener of “You Are” sets the tone.

3. The Black Keys – Brothers

Until this album, the Black Keys were a fringe band for me. That is, on the fringe of something I would find myself craving. Those days are over! The album manages to keep a steady sound and tone throughout the album, yet in a way that’s dynamically full of range. Some songs sound fuzzy and straight out of the garage as you’d come to expect from the Black Keys, but others sound like the garage was transported to the glory days of Motown.

It has a lot of soul. I don’t know how they blended the Jackson 5, Maroon 5 and MC5 into one fusion of garage soul, but it’s here and you should hear it if you haven’t. I just need to use the word garage one more time nonsensically to use garage five times in this review. Full circle symmetry achieved.

Best moment: Many songs here sound as if they could be montages for the old cartoon The Adventures of Jonny Quest, but once the muted horn comes in during “Never Gonna Give You Up”, it’s like the Gods shined down on me and said “sim sim, salabim!”

4. Minus the Bear – Omni

The opening chords of “My Time” set the tone for Omni when the echoing muted drums crash into a psychedelic ode to Depeche Mode thrash. The album never turns back showing the versatility of MTB with a scattershot of dance, reggae, steel drum and sweaty college rock anthems. The beauty of this album lies in its ability to be a good place to start AND finish their catalogue. One can only hope therein lies another round of this kind of creativity from a band named after a cheap shot dude joke.

Best moment: The opening chords of “Into the Mirror” hit and delay…hit one more time…then merge into a full fledged psychedelic stomp. I don’t do drugs (never have), but this song makes me want to indulge.

5. Ben Folds – Lonely Avenue

This is a great idea that was executed to perfection. Author Nick Hornby (About a Boy, High Fidelity) pens the lyrics while Ben gets all Elton John with the piano and harmonies. I just wish Ben would have called Chuck Klosterman. Can you imagine Jack White working with Malcom Gladwell? Anyway, Ben Folds somehow has always found a way to be accessible for interesting projects—his work with William Shatner and Over the Hedge (this was actually awesome!) prove that.

I was skeptical about this project. And after Ben’s last album that was “way too normal” (oooh!) for me, the spark in creativity ignited what is simply a piping hot batch of really catchy songs. Like in the song “From Above” Hornby writes about inspiration “maybe that’s why books get written/maybe that’s why songs get sung.” Indeed.

Best moment: The chorus to “Levi Johnston’s Blues” was taken directly off his Facebook page and just sounds giddily quirky when sung over and over again, “I'm a fucking redneck/
I like to hang out with the boys/play some hockey, do some fishing/And kill some moose.”

6. Shearwater – The Golden Archipelago

It’s rare to find a band grow so much when its biggest name leaves the band. Will Sheff (Okkervil River) has completely faded out of the band. Although, that was a few albums ago, Golden Archipelago continues Shearwater’s assault on writing compelling nature inspired folk masterpieces solidifying to Al Gore that God IS indeed watching over mother earth.

If you have never walked through a fresh snow storm listening to Shearwater (Rook works best), you have not lived my friend. The light flurry flakes tickle your face as the energy and thunderous stomp of Shearwater builds and builds until your heart explodes into nature’s endless abyss.

Archipelago simply means a chain or group of islands around a large body of water. If you did not know that, get in tune with the earth and pick this album up. I’ll refund your purchase if it doesn’t make you want to take a nap in fresh cut grass outside your nearest body of water.

Best moment: “Black Eyes” cuts with the urgency of the polar ice caps flooding your I-pod with the fresh waters of Antarctica.

7. Ted Leo & the Pharmacists – The Brutalist Bricks

Though this would make a great title for a Shaquille O’Neal biography, Ted Leo doesn’t really concern himself with pop culture. He does however manage to continue churning out New Jersey pop-punk songs that wage no impact on the Guido’s of Jersey Shore. And quite honestly, if I were you, I would do the exact opposite of anything (excluding the gym, but who needs THAT much gym?) those guys do. The Situation would not like this album. That means you should.

If there is a great political song left to be written, one can bet it’s going to be Neil Young or Ted Leo that writes it. Sometimes it seems Leo has been around as long, but after only a decade of solo work the consistency of energy driven choruses, inspired chants and plethora of rock accessories (handclaps, sirens, crashing organs, etc) remain rock steady. That’s a formula I can live with.

Best moment: The back-to-back sing-a-bility of “Avian Eyes” and “Even Heroes Have to Die” in the #3 and #4 slots of the album. I love when an album hits its stride early.

8. Belle & Sebastian – Write About Love

Over the years many of my favorite artists have collaborated with Zerfas personal heartthrob Norah Jones. Mmmm…Norah Jones. Anyway, a few years ago Ryan Adams and Dave Grohl both released songs with her. Last year, even SNL’s Andy Sandberg was able to get Jones to lay her sweet ass voice down on “Dream Girl”, and I must say, if she really does love Chex Mix that much, my heart is in trouble.

Seemingly impossible, Jones’ voice doesn’t seem to quite mesh with Stuart Murdock on “Little Lou, Ugly Jack, Prophet John”, but to me it’s in an awkwardly delightful way. If that was the intention, then they are as brilliant as we’d all like to hope. Sometimes it’s better to be lucky than good. Although they took four years, Write About Love seems rushed, yet the loose ends are decorative and endearing like a brown eyed girl with a cute nose sneezing.

This album goes great with your next candle light dinner.

Best moment: The title track “Write About Love” when a beautiful voice bellows “I hate my job/I'm working way too much (every day I'm stuck in an office).” Simple, yet relatable.

9. Gogol Bordello – Transcontinental Hustle

It happens to all the good ones...their “major label debut!” This one couldn’t be more grandiose with Rick Rubin taking charge of the knobs. Who else? It’s quite obvious Rubin wanted front man Eugene Hutz to concentrate on the craft of songwriting itself and let everything else come to the band. What results is another album with versatility in sound, yet it doesn’t create the ruckus you’d expect from a Gogol Bordello album. This is good and bad.

A couple of the songs would make nice backdrops to a relaxing wine dinner party. The change of pace is as unsettling as it is refreshing. And those looking for some gypsy circus craziness will be pleased with the back half of the album, which is surely a tribute to the roots of Gogol Bordello. In that way, this album is much like modern SNL—the best (most creative and outrageous) stuff is toward the end of the night when the “diehards” have shut off their tv. And why would Gogol Bordello be any different? They don’t have anyone to impress.

Best moment: The Brazilian flamenco (I’m not an expert on this, but that’s what it sounds like to me) of “Raise the Knowledge.”

10. The Walkmen – Lisbon

Last but certainly not least, New York’s own Walkmen finish off this list. Lisbon is pensive and charming—easily the odds on favorite to be my favorite album of the winter. I would keep this handy for the next New York (or wherever you may be reading this) blizzard and play songs like the horned sexiness of “Stranded” and sure to be a movie credits’ second song “While I Shovel the Snow” to compliment the beauty of the white flakes hitting your window scenery.

The Walkmen are a great band I don’t spend enough time listening to, because I always associate their albums together in a cluster throughout my brain, even though they do in fact vary from year-to-year. I don’t think they will ever touch the urgency of fist-pumper “The Rat” off Bows + Arrows, but every new offering remains consistent and simply demands a spot in the rotation.

Even if this particular one only best compliments winter lagers, get the memo today and put this in the rotation by tomorrow. March will be here before you know it.

Best moment: “Angela Surf City” roars out of the second slot reminiscent of my Walkmen all-time favorite “The Rat.”

Omissions

Not impressed: Spoon, Sufjan Stevens, Gaslight Anthem

Somehow I missed (didn’t listen to five times): Arcade Fire, Eminem, Neil Young, The National

Thanks for reading,

Zerf