Chris - Greenville Ave Store

07/07/05 Chris Holt
White Stripes - Get Behind Me Satan
Go ahead and say what you will about them. Say that Meg's a terrible drummer. Haven't we heard that before? I'd agree, if I didn't think that she was perfect for the band that she's in...not unlike the great Ringo Starr. Wasn't he perfect for his band, too? I mean, how bad would the Beatles have sucked with, say, Neil Peart on the skins? You get my point. Meg isn't the one who matters, anyway. The one who matters is the man they call Jack. This guy's got something that the others don't have. He's a unique talent. In addition to his underrated mastery of the electric guitar, he's also developed some serious piano chops. And he's no slouch at the marimba, either. But what really kicks you in the teeth is his voice. The guy can sing virtually any style, and he's got balls. I have to say that I was a skeptic after hearing the first three albums. There were a few good songs here and there. Then “Elephant“ came along and I thought, “wow, there are a LOT of good songs here.“ And now, with the latest release, I'm becoming a serious Jack White fan. I could go on and on, but I won't. “My Doorbelll“, “Forever For Her (Is Over For Me)“ and “The Denial Twist“ are among the best songs he's ever written. Check this album out, even if you're a grumpy elitist skeptic. It just might change your mind.

12/15/04 Chris Holt
The Simpsons - The Simpsons - Complete Fourth Season DVD
I am inclined to tell you that this is the greatest television comedy DVD ever madeÂ…and that really wouldn‘t be a false proclamation. Because honestly, the only thing that could top it would be a massive box set containing this, and the as-yet-unreleased fifth, sixth, and seventh seasons. It takes me back to that glorious time when The Simpsons‘ writers could do no wrong. For me to call this collection “flawless“ might sound like a gross exaggeration, but DUDEÂ…have you seen the freaking thing? There‘s nary a weak episode. I could ramble on and on about it, interjecting quote after quote until I‘m blue in the face, but you get the point and surely you agree wholeheartedly. This is Conan O‘Brien‘s finest hour. I‘ll stand by that statementÂ…at least until next fall, when the fifth season hits the shelves. Then the world will truly be a better place.

12/08/04 Chris Holt
Garden State - Original Motion Picture Soundtrack
Great songs make great albums. You‘re probably thinking “wow, you have a marvelous grasp of the obvious“Â…and you‘d be right to think that. But my point is simple - “Garden State“ is a great album. And it‘s not even a real album. For those of you who have no idea what I‘m rambling about, please allow me to explain. Movie soundtracks are often a lame excuse to compile steaming heaps of disposable rock and/or hip-hop flavors of the month, and sell it to the dumbed-down masses of teen sheep that will predictably lap up the latest Limp Bizkit record, because MTV told them it was cool. So therefore, it‘s easy for snobs like me to scoff at any film soundtrack that doesn‘t include the words “original score“ on the spine. “Garden State“, writer/actor/director Zach Braff‘s low budget coming-of-age tale, is not your typical Hollywood drivel, however. It carries an emotional and philosophical weight that most big budget studio movies can‘t begin to touch on, for fear of going over their audiences‘ heads. “Garden State“ is both hilarious and heartbreaking, a rare gem of artistic triumph, especially for a first time director under the age of thirty. The excellent soundtrack, featuring songs compiled by Braff himself and expertly integrated into key scenes of the film, brings together a motley crue of indie favorites, as well as a few rock legends both living and dead. Because of the high ratio of great to not-so-great songs that comprise this dozen-plus-one compilation, this album gets high marks from me. SeriouslyÂ…any record that can sandwich the greatness of The Shins on either side of Zero 7‘s ethereal “In The Waiting Line“, and follow it up with Colin Hay‘s “I Just Don‘t Think I‘ll Ever Get Over You“ - a heart-wrenching lament to lost love by one of the most underrated songwriters of the past two decades - wins major points in my book. And yet there‘s more to rave aboutÂ…Sub Pop‘s latest one-man-band Iron and Wine turns in a lovely acoustic cover of The Postal Service‘s “Such Great Heights“, while Simon and Garfunkel‘s “The Only Living Boy In New York“ (one of my all-time favorite songs) is a most surprising and welcome inclusion. Thievery Corporation, Frou Frou, and the late Nick Drake all make strong showings as well. So, in case you haven‘t already figured it out, this is the best movie soundtrack I‘ve heard in a LONG time. Seriously. Buy it. Or just settle for Fred Durst

11/30/04 Chris Holt
Franz Ferdinand - Franz Ferdinand (Expanded Edition)
This expanded double disc version of Franz Ferdinand‘s relentlessly infectious debut may be little more than an attempt to cash in on their overnight success, but it‘s definitely worth checking out. In addition to the eleven disco flavored seductions from the original album, the bonus disc provides a few gems that didn‘t make the original cut. Their current single “This Fire“ (now remixed “This Fffire“) kicks a little harder than its sister version from disc one, while “Words So Leisured“ is a humorous take on their previous single “Darts of Pleasure“, with singer Alex Kapranos putting on his schmaltzy lounge crooner voice to great effect. “Shopping for Blood“ and “Van Tango“, both previously released on the Darts of Pleasure EP, dig a little deeper into Franz‘s mixed bag of retro pop influences, and hint at what may be in store on future records.

11/09/04 Chris Holt
Earlimart - Treble and Tremble
It seems like all I can do these days is point out how derivative contemporary music is. But most of the time, I don‘t mean it in a negative way. In all honesty, I think that virtually everyone sounds like someone else. Though I‘m sure many would disagree with me, I don‘t think it‘s such a bad thing to wear your influences on your sleeve. I guess it depends on just how much you rip someone off. If your music is so blatantly stolen that you have no chance of establishing an artistic identity of your own, then I guess it‘s a bad thing after all. That may not be the case with Earlimart, however. Named for a small town in their home state of California, Earlimart have released three indie records since 2000, establishing themselves as melodic yet unconventional songwriters. But on “Treble and Tremble“, their fourth (and finest) effort, Earlimart have channeled the sound and soul of Elliott Smith in a way that is at once chilling and disturbing. Singer/songwriter Aaron Espinoza‘s breathy vocals
and dark, ethereal pop songs sound so much like Smith‘s, that if I had heard “Treble“ before hearing Smith‘s final album, I would have believed that it was the work of Elliott himself. After doing some research, I came to learn that Espinoza and Smith were actually good friends, and that Elliott‘s death was the catalyst for the songs that became “Treble and Tremble“. And that was before I read the liner notes and saw that the entire album is dedicated to him. So, it may seem easy to slag off Earlimart as being rip-off artists, but when you consider the fact that Espinoza was channeling Smith intentionally on each of the songs, it begins to make sense. Whereas many derivative artists lose a great deal of quality in the translation, Earlimart‘s music possesses both the fragile beauty and melodic brilliance of Elliott‘s finest efforts. On songs such as “Hold On Slow Down“ and “Heaven Adores You“, it becomes quite obvious that Espinoza is singing directly to his dearly departed colleague. Instead of a sappy, inferior collection of knock-offs, Earlimart has delivered the ultimate tribute to their fallen friend, and a wonderful gift to fans of his music - an album of melodic gems that if you close your eyes and let your imagination run wild, you can almost believe that it‘s Elliott himself.

11/02/04 Chris Holt
Dogs Die In Hot Cars - Please Describe Yourself
What‘s with all these UK bands that suddenly sound like XTC? It‘s amazing to me that in the last year or so, the “angular movement“ has produced a slew of post-punk bands that seem to live and breathe the bark and bite of Swindon‘s finest. It‘s funny that here in Dallas, we had a little band called Chomsky perfecting that sound FIVE years ago...but I digress. On to the review...the latest of these “Andy bands“ to catch my ear is none other than the Scottish quintet with the whimper-inducing name - Dogs Die In Hot Cars. While Sunderland‘s Futureheads spectacularly channel the frantic fury of the early XTC records, DDIHC‘s debut release sounds more like the “Skylarking“ era...if Howard Jones had joined the group. While that may sound like an insult, it‘s not intended that way - the only song that truly recalls HoJo is the goofy “Godhopping“, and even that gets stuck in your head after a few listens. The first single, “I Love You Cause I Have To“, is a delicious mix of ska and bubblegum, complete with a dead-on Partridge imitation from lead vocalist Craig Macintosh. Not everything works in this collection of retro throwbacks - on the lyrically trite, yet beautifully melodic “Celebrity Sanctum“, Macintosh name-drops his favorite celebrity fantasies, but stumbles by calling Angelina Jolie by the wrong name - “Angela“. Oops. Despite such occasional slips, the Dogs deliver the goods most of the time. Their hook-driven songs are instantly catchy, but whether or not they have staying power remains to be seen. I personally prefer the Futureheads‘ manic energy to this, but I‘d still take DDIHC over anything I‘ve heard on the radio this year. Well...except maybe that Franz tune.

10/25/04 Chris
Elliott Smith - From A Basement On The Hill
So, here we are a year after Elliott Smith‘s tragic death, and finally we receive the long awaited follow-up to 2000‘s “Figure 8“ - a lush pop masterpiece that is often overlooked by longtime fans who prefer Elliott‘s earlier, more stripped down efforts. “From A Basement On The Hill“, which was whittled down to 15 tracks after Smith had recorded enough music to release a double, stands as his final musical testament, though we‘ll probably see a scattered collection of posthumous releases in the next few years. On first listen, “Basement“ sounds like the Elliott we‘ve come to know and love - dark, sad, beautiful, haunting...much like his other studio records. As usual, Elliott plays all the instruments himself, again showcasing his prodigious and often underrated musical abilities. There has been a great deal of speculation among critics and cynics that this album is not the album Elliott intended to make, as it was completed after his untimely death. But anyone who‘s familiar with his music can hear that Smith was firmly in control of the direction of “Basement“, even if his direction was changing. It‘s his voice, his guitar, his piano, his bass, and his aural stamp that you hear on each of the 15 songs. The ragged opener “Coast to Coast“ and the haunting closer “A Distorted Reality Is Now A Necessity To Be Free“, hint at a darker, heavier style which might have emerged on future records. But the majority of the record is classic Elliott. “Pretty (Ugly Before)“ and “A Fond Farewell“ are on par with his best material, while tunes like “Strung Out Again“ revisit the familiar themes of addiction and alienation that have long dominated his lyrics. “From A Basement On The Hill“ may not be Smith‘s finest record, but it‘s a damn good one. If you‘re a fan, you probably have your own favorite, and it‘s always hard to embrace a new record the way that you love the old stuff. But “Basement“ is a fitting coda to Smith‘s prolifc career and if nothing else, it serves as a reminder that the world lost a truly gifted artist a year ago.

10/18/04 Chris
The Futureheads - The Futureheads
For the past couple years, there has been a storm quietly brewing in the UK, which has resulted in a recent hailstorm of fresh, intelligent pop music. The so-called “Angular Movement“, characterized by post-punk guitar slashing, quirky arrangements, and frantic onstage energy, has been defined by such groups as Franz Ferdinand, Bloc Party, and The Futureheads. The latter‘s debut, which sees domestic release later this month (though we the fortunate here at CD World already possess an import copy), encompasses all the wit and melodic brilliance of the early XTC and Gang of Four records. Though “The Futureheads“ may sound a bit too reminiscent of “Drums and Wires“, Andy Partridge would be proud. The Futureheads not only possess a knack for instrumental mastery, they also succeed with clever wordplay, and most importantly, they don‘t neglect the art of songcraft in favor of tuneless energy. Fortunately, this first effort connects on all levels. For fans of post-punk angular guitar pop, this record is a must own.

09/27/04 Chris
Elvis Costello And The Imposters - The Delivery Man
Elvis the Chameleon always keeps you guessing...honestly, when I heard that he was prepping yet another new album for release, I half-jokingly assumed that he had composed an opera and conducted the orchestra himself. Little did I know that “Il Sogno“ - his first fully orchestral work - would be released the same day as “The Delivery Man“, arguably the most consistent and focused rock record Elvis has made in years. While the album‘s loose concept falters at times (there is no direct narrative to follow, just a disjointed series of tales about a Southern delivery man and his interactions with various women), both Costello‘s voice and lyrical vision remain inspired, on par with his finest work. It‘s also the first album he‘s recorded with The Imposters, his current touring band that features ex-Attractions Pete Thomas and Steve Nieve, on drums and keyboards, respectively. While it may not be on the level of “Armed Forces“ or “This Year‘s Model“, “The Delivery Man“ towers over most of the material Elvis has released in the past decade. For nearly thirty years now, his versatility has made him one of the world‘s most respected artists, but for a great number of longtime fans, myself included, it‘s refreshing to hear him bring the rock again.

08/30/04 Chris
Jeff Buckley - Grace - Legacy Edition
I could go ramble on and on about how sad it is that such an incredible talent as Jeff Buckley was lost before he had the chance to truly blossom as an artist...but I won‘t...plenty has already been said about all that. But I‘ll gladly rave about the new Legacy Edition of his debut, “Grace“. Of all the posthumous releases from the past few years, this one is probably the most anticipated. In addition to a remastered version of his sole studio effort, you get a second disc of outtakes, rarities, and live performances, including an incendiary version of the MC5‘s “Kick Out The Jams“, which showcases Buckley‘s stunning vocal prowess. The icing on the cake is a bonus DVD with previously unseen footage and a collection of all five of the videos Buckley made for the album, including “Grace“ and “Last Goodbye“. If nothing else, it‘s worth picking up just to hear Jeff‘s masterful interpretation of Leonard Cohen‘s “Hallelujah“, a track so hauntingly beautiful that it never fails to make the hair on my arm stand up straight. The promotional ads are calling this package “the ultimate fan experience“. For anyone who appreciates the immeasurable talent of Jeff Buckley, this is a must have.

08/23/04 Chris
The Hives - Tyrannosaurus Hives
The Hives may be the cockiest band on earth. That‘s not necessarily a bad thing - look what it did for Oasis. But like Oasis, they have their work cut out for them. Once you proclaimed yourself to be the greatest band on earth, you‘ve gotta deliver the goods. The Hives exploded onto the scene a couple of years ago, along with a slew of other new garage-rock bands, but their sound is not necessarily like the others. They‘re heavier than The Strokes, but not quite as melodic. They‘re more original than The Vines, but not as unique as The White Stripes. So, in order for The Hives to stick out, they‘ve had to run their mouths and rev it up full throttle. The new album “Tyrannosaurus Hives“ is basically a continuation of the frantic garage-rock of their previous effort, 2002‘s “Veni Vidi Vicious“. Vocalist Pelle Almqvist screams his throat raw on every track, while the band slashes and burns their way through the dozen tracks here in just half an hour. The Hives may not be as great as they claim to be, but it‘s hard not to smile and bob your head along with them…why the hell not enjoy them for what they are?

08/09/04 Chris
Elvis Costello - Almost Blue (reissue)
Longtime fans are probably torn on this record, which was a radical left turn from Elvis‘ signature sound when it was first released in 1981. Some have called it a vanity project, but the simple fact is that Elvis can do just about anything. And he makes these country tunes his own. His voice may not have the same twang that you would expect from most country singers, but that‘s what I find most appealing about this record. Elvis‘ voice is like no other, and hearing him drawl these classic country melodies (instead of some lame “young country“ singer) gives this record a timeless appeal. The bonus disc is the real find, though. Duets with Johnny Cash and George Jones, as well as killer rare tracks like “Psycho“ make the reissue worth checking out. “Almost Blue“ is not Costello‘s finest work (how could it be compared to his first four records?), but it has aged well, and it furthers cements his status as one of the all-time greats.

08/02/04 Chris
Badly Drawn Boy - One Plus One Is One
You‘ve gotta give Damon Gough -a.k.a. Badly Drawn Boy - some credit…he never stops working. In just four years he has given us four full-length records, each one a different slice of his eccentric life. “One Plus One Is One“ is not all that different from his previous efforts, but the quality of his songwriting remains intact. And while this new one is probably not as consistent as 2002‘s “About a Boy“, there are some great moments nevertheless. Gough has long been a fan of lush orchestral production. Here he utilizes flutes, tympani, and even a children‘s choir on “Year Of The Rat“, while he spices up “Logic of a Friend“ with swooping harmonies and plunking piano. Gough utilizes his multi-instrumentalist skills to near perfection, which more than make up for the occasional monotony of his vocals. This is one that will grow on you. Badly Drawn Boy consistently delivers strangely beautiful music. In less than half a decade, he has carved out his own niche, and paved the way for a very prolific career.

07/26/04 Chris
They Might Be Giants - The Spine
Nobody does clever, quirky geek-rock better than They Might Be Giants. So it should come as no surprise that this, their tenth or eleventh record (I can‘t remember anymore), is no slouch. The duo of John Flansbergh and John Linnell have never been afraid to jump all over the map musically, intertwining surreal oddball melodies with their bizarre senses of humor. There‘s a little bit of something for everyone here. Unless you just don‘t get it, which is understandable. TMBG is an acquired taste, to say the least. But once you‘ve acquired it, it becomes an addiction. The Spine proves that these guys are far from being out of ideas.

07/19/04 Chris
Muse - Absolution
The first thing you think when you hear “Apocalypse Please“, the ominous opener of Muse‘s fourth album Absolution, is “this sounds like Radiohead“. And that‘s not an exaggeration. While Muse‘s over-the-top production, heavy keyboard textures, and thunderous drum sounds may have little in common with everyone‘s favorite Oxford quintet, singer Matthew Bellamy‘s wailing is an unmistakeable dead ringer for Thom Yorke. In fact, it‘s hard to take Muse seriously when you hear them for the first time. But once you get past the initial skepticism, it starts to grow on you. Bellamy, who writes the tunes and plays both guitar and keyboards, channels Yorke so perfectly that I sometimes find myself wishing that Radiohead would sound more like this. So, now that I‘ve made that bold statement, let me get to the point. Muse are a great band. The songs on this record are well written, impeccably produced, and performed with such intensity that it‘s hard not to appreciate the talent in this trio. The Yorke issue may cause a major identity crisis for them, if it hasn‘t already...but regardless, I think Muse is going to be around for a while. I‘m curious where they‘re headed next.

07/12/04 Chris
The Shins - Chutes Too Narrow
In this day and age, when popular music is often as disposable as Kleenex, it‘s refreshing to find a pop band that delivers the goods consistently. The Shins, a quartet from Albuquerque, are fighting to give pop music a good name, and so far they‘re succeeding. With their second album, “Chutes Too Narrow“, the Shins, led by singer/songwriter/guitarist James Mercer, infuse classic melodies with simple, sparse arrangements, to create a sound not entirely original, but infectious nonetheless. Mercer‘s high-pitched wail is the band‘s signature instrument - he moves effortlessly from whisper quiet baritones to ear-splitting screams. But the real standouts here are the actual songs. “Saint Simon“ bounces along merrily, before soaring with Beatle-esque harmonies. The acoustic album closer “Those To Come“ recalls vintage Donovan at his best, while the opener “Kissing the Lipless“ - easily Mercer‘s finest song to date - is arguably one of the greatest pop songs of the past decade. While it might be a shame that it will probably not ever be a hit, or make The Shins huge stars...those of us who have discovered it are probably more than content to let them remain our own favorite secret.

07/05/04 Chris
Wilco - A Ghost Is Born
Wilco is one of those special bands, one that has long stood out among their peers, thanks to fearless experimentation, inspired songwriting, and constant reinvention. It is no secret that bandleader Jeff Tweedy changes band members about as much as he changes his socks - a testament to his stubborn, but focused musical vision. As a result, this revolving cast of characters has given each Wilco record its own sound, and it‘s safe to say that no two Wilco records sound alike. After the classic pop stylings of “Summerteeth“ and the dense sound collages of the critically acclaimed “Yankee Hotel Foxtrot“, Tweedy and Co have returned with their most stripped down effort to date. Much of this change can be attributed to the departure of songwriter/multi-instrumentalist Jay Bennett, who left during Wilco‘s well publicized battle with Reprise over the release of “YHF“. Bennett‘s influence may be gone, but Tweedy is still steering the ship in the right direction. He has said in recent interviews that while he enjoyed the sonic layers of the previous two records, he wanted the new one to sound like “four guys playing together in a room“. The arrangements on “Ghost“ are often simple, centered around guitar, bass, drums, and grand piano. Tweedy, who is now the band‘s lead guitarist, channels the spirit of Neil Young on “At Least That‘s What You Said“, with his frantic, distorted soloing. On songs like “Hummingbird“, “Hell Is Chrome“, and “Theologians“, newcomer Mikeal Jorgensen‘s bouncy piano lines recall the classic sound of later-era Beatles, while the album closer “The Late Greats“ actually sounds like a track that might have fit in on one of Wilco‘s earlier records. Two of the most striking tunes that may spark debate amongst longtime fans are “Spiders“ and “Less Than You Think“, both of which run longer than ten minutes and buzz with feedback and noise - yet another testament to Wilco‘s undying ability to challenge both themselves and their fans. As always, Tweedy provides provocative and often puzzling lyrics, further cementing his status as one of rock‘s most unique songwriters. After several listens, it‘s safe to say that “Ghost“, while very different from Wilco records past, is another major achievement in their ongoing evolution, now in its tenth year. I, for one, am hoping that Tweedy and his crew will stick around for another decade.