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

Water for Elephants

I love elephants! Perhaps it’s my jealousy at their ability to consume copious amounts of liquids while maintaining a descent cuddly elephant body or it could be they just always look happy. Something about the symmetry of the huge trunk shooting water and the delicious folded back ears spells smiley jubilant enthusiasm to me. They just seem like vast loads of fun.

I want a pet elephant, although obviously an elephant doesn’t even fit in my cloistered fourth floor box apartment, so it would have to be a baby elephant—an unrealistic pint-sized scale runt of the litter would be best. How fun would it be to have a baby elephant the size of a kitten? Can you picture the little elephant noise it would make?

With that in mind, when a friend recommended I read Water for Elephants I couldn’t resist my affinity for the loveable jolly beast. I really didn’t know what I was getting myself into. Turns out it’s an epic tale about the “land before law” circus much like a couple of my favorite books The Jungle (about the meat packing industry before the FDA) and Oil! (the greed of the oil rush in California loosely depicted in There Will Be Blood).

No matter how good or bad a read is, if you walk away with something from it—the time spent was a success. I don’t think Water for Elephants is anywhere near one of the greatest books I’ve ever read. But, the book properly took me on a journey through the early days of a grassroots circus with all the proper trimmings of an epic tale that will surely make a good movie; love, action, blood, thirst, etc.

I really made the connection that I’m obsessed with the era of this country before lawyers and law protected people from themselves. It seems to me before the shield of law and overpowering government rule integrity was upheld by the common man. And I believe that always makes for an entertaining story. How sets of circumstances take common people with seemingly common skills and are then forced to overcome the situation.

Western society forced people to be more grizzled and stick up for others when they notice they’re being wronged. In today’s day one can actually get in trouble more for being a “good Samaritan” than sitting back and watching society shred itself raw. Unless it’s the last episode of Seinfeld, in most cases people are better off watching injustice than getting involved with something that doesn’t concern them. In the westerns the Man vs. Man action seems to uphold more integrity, because people had to look out for each other as a whole in the face of society.

The more something is broken, the more people will band together.

Author Sara Gruen does a great job (extra points for her mastery of the em-dash prose style) setting up this scene of absolute terror and mistrust in the misguided circus society, before there was law. It’s amazing to me that people were able to live through such conditions. It makes me think about how easy things are for me. Like the difference between playing sports and playing sports on ice. If you can’t skate ice hockey seems impossible! Society has done a nice job removing our need to skate, but there is a reason ice hockey is the most fun sport to watch live.

In The Jerk (file this movie as the Ryan C. Zerfas bible), the circus is depicted as a last ditch effort for Steve Martin to “find his special purpose” while exploring what the world has to offer. The main character in Water for Elephants is going through a similar situation. Having suffered a dramatic family situation Jacob Jankowski needs to take time to find himself and stumbles upon the opportunity to travel the nation by train and be a part of “the greatest show on Earth.” When thinking about society as it was then, the circus was probably not a bad place to be, allowing the circus to be a grandiose testament to growing America rather than fodder for carnie folklore.

I doubt I am the target audience for this book, but I read with reckless abandon just the same. Once the elephant is introduced, I found myself wanting more and more elephant in the story. Gruen did a nice job making the elephant a desired spectacle much like the sound of an ice cream truck in the summer when you were a kid. You don’t know when it’s coming, but as you’re playing in the streets every now and again you get distracted and hunger for that loud over-amplified cheap carnival sound to drive by. And when it does…it’s glorious…and tops the day with a bountiful reward.

Although none of the other characters were extremely captivating to me, the setting and unfolding action was enough to keep me entertained between musings of the elephant. I think this movie will be amazing. I saw the preview when going to True Grit and the character Christoph Waltz (Inglorious Bastards) is going to play (August) should be nothing short of spectacular. After Inglorious Bastards I believe him to be the next Tommy Lee Jones or Gene Hackman of our generation—playing supporting roles in many films, often stealing the show with outrageous verisimilitude.

Lastly, this book was clearly well researched. Much like Upton Sinclair, Gruen intertwined real bits of circus history into the fictional tale to give the story an authentic trumpeted texture. It’s really worth reading the post story notes, which is something I usually avoid, but in this case it depicts the time, research and unruly writing process necessary to make the story come to life.

So whether you like elephants like I do (actually, please let me know if you do…) or you like epic books that will soon be epic movies—I believe this to be a worthwhile, but not life changing read.

Michigan State Football: The Year in Review 2010

The Zerfas home office is back for the new year. I'm looking to write a ton about the upcoming basketball season as it unfolds as well as many other sports driven topics for the Bleacher Report.

First things first, let's get some closure into the year that was for Michigan State's football program.

http://bleacherreport.com/articles/565640-michigan-state-football-the-year-in-review-2010

Ben Folds Live at Beacon Theater 12.14.10

Broadway & 75th was not so lonely Tuesday Night
(Photo by Deena Bahu)

Having been to four previous Folds concerts that were all life changing in their own unique way—I feared losing the legacy of Ben Folds Live in my mind. Understandably so. But, I fought through it and saw Folds at the Beacon Theater, conveniently located less than two blocks from my apartment.

I’m here to say folks, Folds still has it, big time! He’s the consummate pro at delivering an enjoyably unique performance every night, all the while seemingly having a blast while doing it.

I personally think Folds is at his best when armed with only a piano and beer driven, raucous audience. I feared with a five-piece band, all of the shenanigans and improv would be cut for a professional grade, adult rock show. Fortunately, the CATCHY chorus from the opening song throws that notion of boring maturity out the picture window, “I’m a fuckin’ redneck…I like to shoot the shit and do some chillin’ I guess…you fuck with me and I’ll kick your ass.” The song was catchy BEFORE I knew the quote was taken directly off Levi Johnston’s Facebook page or even who exactly Levi Johnston is.

The Breakdown: seven songs from his Lonely Avenue collaboration with author (High Fidelity, Songbook) Nick Hornby (a great album by the by), 6.5 (“Hiro’s Song” was a B-side) from his quintessential solo album Rockin the Suburbs, three Ben Folds Five classics (sorry folks, no “Brick”), two 10 minute improv jams (one revolved around “Free Bird”) and one Ke$ha cover—28 songs of totally joyous Ben Folds elation.

Folds is touring the Lonely Avenue album with an ironically numbered five-piece band (Ben Folds Five…was three). Between that and the majestic scene and landscape at the Beacon Theater, the sound was rich and full as a California Cabernet, though Folds’ charm is more reminiscent of a Carolina porch PBR. The ever upscale Beacon had Beck’s…good enough.

After the Devo prog-rock, poet with a fun name tribute, “Saskia Hamilton” and a rip-roaring version of “Bastard” that finds me always wondering how they’ll recreate that 10-part harmony in the bridge—Folds gave the theater THE moment of silence they craved. This allows the drunks and knee slapping comedians to shout their comments. Naturally, “Rock This Bitch” and “Free Bird” were the two prime choices for this mission.

Folds took it all in for a brief moment, made a funny face, and warned “be careful what you wish for young lady” before launching into a 10-minute version of “Free Bird.” This particular version Ben chose to improv the lyrics about how he took an oath as an artist to play the song when requested, but he didn’t know the words. It then blended itself into a “kill two birds with one stone” version of “Rock This Bitch (the Free Bird version).” Epic.

Fans like me that enjoy just Ben and a piano, were treated to a short four-song solo set. The set ended with “The Last Polka” which when played solo sounds like a show-tune and college fight song played pureed in Bose blender. It’s astounding. Half way through the song, Folds stopped and admitted guiltily that he had a “brain freeze” before picking up where he left off.

Folds looked sort of embarrassed while calling his band back onto the stage. He proceeded to launch into an improv jam around “sorry I forgot the words…” which featured five minutes of piano jam, five minutes of cranking on the toy looking synthesizer next to his piano that sounds a lot like “Sandstorm” on crack, and finally he took over the drum set for another jam pointing his stick at other members of the band to jam with. When they looked semi lost and confused, he goofed through a poor, yet charming, version of “Hiro’s Song” playing drums, singing and laughing. The band and the audience alike were in shock and awe.

It’s as if he said to paying guests of the Beacon “I messed up folks, here’s a gift that will never ever be created again.” Sitting behind Jason Sudekis, it’s impossible not to make the Dana Carvey “Choppin’ Broccoli” train of thought connection to the way Folds makes up songs. Although, I don’t think Carvey would dare attempt the outro to “You to Thank.” (Concert goers note: always see Ben Folds left center so you can watch his ridiculous piano playing)

Acknowledging the loosely unscripted madness Folds stated “…and now for some songs that were rehearsed”, before bringing the crowd to its feet with seven hits that found even elder white women of the Upper West Side “in a loving trance”, making it possible for all Beacon residents to dance.

And they did.

You can’t leave a Ben Folds show anything but giddy. He delivers a little bit of everything. The five piece version of his songs was as rockin’ as I’ve ever seen. The improv was as astoundingly witty. You get a taste of Ben Folds Live. This is as good of a show as you’ll ever see. What more could one want from an artist?

He can fight it all he wants, but he’s still got it.

Setlist:
Levi Johnston’s Blues
Doc Pomus
Gone
Belinda
Sleazy (Ke$ha cover)
You to Thank
Cologne
Saskia Hamilton
Bastard
Free Bird (“I don’t know the words to this song improv”)
Rock This Bitch (Free Bird Version)
Still Fighting It
From Above
Effington

(solo)
Picture Window
Practical Amanda
Lullabye
The Last Polka

(band returns)
Sorry I Forgot the Words to Last Polka Jam
Hiro’s Song (Ben on drums and vocals)

(hit parade)
Landed
Annie Waits
Hiroshima
Zak and Sara
You Don’t Know Me
Kate
Rockin’ the Suburbs (You Better Look Out, Because I’m Going to Say Fuck Outro)

Not the Same

Matisyahu Live at Brooklyn Bowl November 29th

There are a select few artists who fill a category for me. It’s a category that’s hard to characterize. But, if I had to put words to it, I would title it “Artists That Are Better Viewed Live And Only Really Worth Listening To If It’s The Live Album, Rather Than The Studio Albums (That Aren’t Bad), It’s Just Not The Same And Is Really Kind of a Buzzkill Otherwise.”

That’s just not punchy, but I think you know what I mean. All three of those aspects have to be conveyed.

1. They are a good live band (most likely play their songs totally different live than on the album)
2. Have a stand out live album
3. You really can’t even listen to the other albums, because the live album is far superior and anything less seems like a waste of time in comparison

I’m thinking of a few specific examples. You may not agree with all of these, but I think you get the general idea. Nirvana Unplugged in New York, Barenaked Ladies Rock Spectacle, Mxpx Attheshow, and Five Iron Frenzy Proof That the Youth Are Revolting. Two other examples are close, but I’m such a big fan of the artists’ catalogues that they don’t fit all three categories, but are worth mentioning. Ben Folds Ben Folds Live and Neil Young’s Live Rust.

The crowning example (pun intended) of this genre of artist I’m talking about is Matisyahu’s (how the hell do you plural tense Matisyahu?) live album Live at Stubb’s. It’s the cat’s pajamas of live albums. In fact, it’s the only Matisyahu album I own. It’s the only thing he’s ever done that I would ever choose to listen to enough to carry with me (and I still keep Hootie and the Blowfish on file).

That all changed after this show.

First and foremost, I must mention how awesome Brooklyn Bowl is. Clutch sound. It’s very small, yet expansive in layout. The bowling alley is directly parallel and dynamically in view of the stage. There is a restaurant with fantastic food and a wonderful selection of Brooklyn Brewery and Six Point beers. What more could you ask for! I know I will hang out there any chance I get.

It’s not that Matisyahu put on a terrible show. The sound was good. He played a two hour and change set, which is something I enjoy. I love a long set, usually, although this time around I sadly found myself checking my watch. I don’t even own a watch.

It just had such high expectations from the previous shows I went to and the marinated versions of Live at Stubbs firmly graced my taste buds. I wanted to cured, smoked versions of his music and I was served cheese and crackers.

Don’t get me wrong. I love cheese and crackers. Just not when I’m expecting the multi-course meal Matis has always delivered. I can say the word always, because once a band has a SWEET live album, one just assumes they always KILL it live.

I hated to see this notion die.

What never dies is the joy I get from Matisyahu beat boxing. I know I could pay $2 bones and see someone who is an actual professional beat boxer do similar work (if not better), but there is just something about it being Matisyahu doing the beat boxing. And his new material really uses this skill well. Therefore, you get to see him work the mic in this fashion multiple times a set. That is the plus.

On the negative side, it didn’t really seem like he was passionate about his old material. I remember him dancing (in a perplexing, awkward circle formation) around the stage, talking to the audience with ridiculous stream of conscious banter and making cattywampus gestures throughout long jam sessions. His backing band seems to have lost some luster. Back in the day, it seemed like he had multiple percussionists and the music was so real and authentic. Pure. No electric drums or computerized sounds.

This time around, he had a three piece backing band called The Dub Trio that opened the concert with 40 minutes of bland noise. Just as I cleaned my palette with enough Brooklyn Lager to forget how boring they were, they marched back on stage with Matisyahu (as the backing band). Oh dear. I knew from there I was in trouble.

Then the 180 has happened folks. Because of the musicianship of this concert and all the dynamics that are in play including, but not limited to, my preparation for the show—I like a new Matisyahu album. Released in 2009, Light offers a brand of Matisyahu I cannot get from Live at Stubbs.

It’s better on album than live. WHOA!?

Light belts you in the face with an expansive sound. The songs come from a wide range of influence and the structures themselves are complex and ever-changing. Just how I like it. When he played these songs live, he was pumped—sort of. They came off well. It was just the “classics” that seemed like a drag. And that’s too bad. A concert legend was slayed today. But, I won’t let it take away from what I gained out of the experience.

It’s like the Sir Lancelot killing spree scene in Monty Python and the Holy Grail. I feel like the father who watched the bride get murdered before his eyes, but at least he gained a son-in-law. And in this case, that’s not as bad as it sounds.