19. "The Funeral" by Band of Horses (2006)

Band of Horses expansive guitars and ringing melodies are drenched with atmosphere. Like shuffling through the leaves on a sidewalk in a small town. Or watching the moon over an empty lake. The group's pretty, autumnal indie-rock does not obscure the band's spare, lyrical heft, but fortifies and envelops it with layered reverb.

On "The Funeral," Ben Bridwell's high-pitched register slowly rises with crystalline guitar tones, humble yet foreboding. Then his voice explodes in glimmering reverb, awash in in what can only be described as Southern shoegaze. The result is an anthemic version of the often anemic or angular sound of their peers. Band of Horses open-hearted, unironic approach to indie-rock is life-affirming and welcome. And "The Funeral" is a striking and altogether potent indie-rock song.

Why listen? By combining elements of Southern rock, shoegaze, and indie-rock, Band of Horses create epic and intimate songs that are endlessly accessible and listenable. In an age of irony, the band forces listeners to take their words at face value which only enchances the music's immediacy. Indeed, if you want to call "The Funeral" the best emo song of the decade, The D Man will have no problem with that.
Something else? "The Great Salt Lake," "St. Augustine," "Is There A Ghost," "Ode to the LRC," "No One's Gonna Love You," Islands on the Coast."

20. "Kim and Jessie" by M83 (2008)

Lush, wide-screen musical cinema, "Kim and Jessie" reverberates listen after listen. A gorgeously rendered pop song, its creation is only possible from the imaginative resonance of Anthony Gonzalez, who understands the textural possibilities of live musicianship and computer generation. The guitars throb alongside synthesizers (see a great live version here) while the song's starry-eyed tale of teenage angst turns somewhat foreboding: "somebody lurks in the shadow / somebody whispers."

One of this decade's prime musical motifs was a renewed interest in so-called 80's retro, sometimes painfully so. But this song may be the look-back's crowning achievement. Given the recent passing of John Hughes, a muse of sorts for M83, one would like to think "Kim and Jessie" could have been his final movie's central montage.


Why listen? A lesson in the musical possibilities of electronica. What the artist can conceive, the musician/programmer can achieve. M83's "Kim and Jessie" is a flawless example of synth-shoegaze bliss.

Something else? "Run Into Flowers," "Don't Save Us From The Flames," "Graveyard Girl," "We Own the Sky," and "Coleurs."

21. "The Rip" by Portishead (2008)

Portishead's ten-year absence came to an end with the aptly-named Third. The group moved their legendary trip-hop into some potent, cinematic soundscapes, each song carried by Beth Gibbons' world-weary vocals. On "The Rip," Gibbons sings over acoustic strums, her voice eventually falling into a bed of electronica, haunted but hopeful.

While, white horses,

they will take me away,

And the tenderness I feel,

will send the dark underneath,

Will I follow?

Given the juxtaposition of the initial acoustic framework and eventual electronic climax, "The Rip" sounds suspended in time between a distant black-and-white past and some isolated future. But under the spell of Gibbons' interpretation, the vivid opening lines ("As she walks in the room / scented and tall / hesitating once more") followed by the supernal chorus translate the song into an otherworldly performance. "The Rip" is jaw-droppingly beautiful and haunting, and, ultimately, vital listening that leaps out of your speakers.

Check out the incredible video for "The Rip" right here.

Why listen? Like the rest of Portishead's third album, "The Rip" is an arresting but rewarding piece of recording artistry. The noir electronica seeps into your veins alongside the lyrical brilliance of Gibbons' plaintive voice. The song's familiar strangeness suggests it will be worth revisiting well into the distant future.

Something else? "Machine Gun," "We Carry On."

BONUS: "The Rip" has plenty of important fans. Thom Yorke and Jonny Greenwood let someone film their version while messing around backstage.

22. "Beautiful Day" by U2 (2000)

"Beautiful Day" established U2 (again) as the biggest band on the planet. U2's stellar 2001 album, All That You Can't Leave Behind, re-enthroned the band's sonic magnanimity and appealed to our collective greatness. The Edge's wall-of-sound guitar, Adam Clayton's pulsing rhythm, Larry Mullen, Jr.'s beating drums, and Bono's vocal passion engaged listeners during a third decade of music making. "Beautiful Day" was their clarion call.

U2's relevancy in the early part of this decade will also be tied to the events of 9/11. The D Man's brothers were a few terrifying blocks away and watched the towers fall that fateful day in September 2001. Robbie still has the dust on his shoes from his journey across the Brooklyn Bridge to escape Manhattan. A month later, they attended U2's sold-out show in Madison Square Garden and have since said it was one of the most cathartic experiences of their lives. Indeed, Bono and The Edge agreed that those New York City shows are among the most memorable of their thirty-year career.

Millions shared in that experience a few months later during halftime of the Super Bowl, when U2 paid tribute to the deceased and Bono, ever the attention-seeking Irishmen, ripped open his jacket and unfurled an American flag. It was awesome. Maybe the greatest public performance of all time, certainly of that magnitude. Likewise, "Beautiful Day" became an anthem of peace, hope, and reinvention during the rest of U2's heart-shaped tour.

For the video, click here. For a huge performance at Slane Castle, click here.

Why listen? Powerful, inspiring rock music has long been U2's forte. "Beautiful Day" is a powerful, inspiring rock song. Forget the band's back catalog and this song would have been even bigger, if that even makes sense or is possible. When Bono reaches to sing reach me, I know I'm not a hopeless case, a sort of communal understanding is realized: with each other, we are not cast off forever.

Something else? You already know what else.

23. "Hey Ya!" by Outkast (2003)

Shake it like a Polaroid picture. Shake it. Shake it. Outkast's "Hey Ya!" launched a thousand catch-phrases and burst the pleasure-centers of critics and radio listeners everywhere. Combining Prince-like funk, 60's girl-group fantasies, and whatever else in hell influenced Andre 3000, "Hey Ya!" crossed borders and made everyone want to dance. The song left the stratosphere of pop music and culture behind; we will never hear the likes of it again.

Outkast was the most inventive and exciting hip-hop group of the decade, if that label is even appropriate for the group's outlandish musical triumphs. The duo's triumvirate of originality also included "Ms. Jackson" and "B.O.B," all three of which deserve inclusion on this list, depending on your cup of tea. For The D Man, give me extra sugar, ice cold.

For the sweet video for "Hey Ya!," click here.

Why listen? Outkast's ability to eschew the trappings of an often repetitive and narrow genre is commendable. The duo's wildly inventive music draws from more influences than any previous hip-hop artist. Yet there is even more at work in "Hey Ya!": bona-fide zeitgeist-loving domination.

Something else? "Roses," "So Fresh, So Clean," "The Way You Move," and "The Whole World."

24. "Naked As We Came" by Iron and Wine (2004)

Sam Beam's hushed, wistful nostalgia, riddled with half-scriptures and rich Southern romanticism, may be the prettiest folk music in decades. Tears can come easy after a few listens despite the lyrics' decidedly unsentimental approach to love and loss. "Naked As We Came" is representative of a stable filled with achingly beautiful hymns; the song is canonical in every sense of the word. Beam's music imagines backwaters, backwoods, poorhouses, and porches; the subtle, nuanced guitar-playing elevating his lyrics onto some strange spiritual plane. Indeed, Beam's allusions describe lovelorn relationships with Biblical heft. On "Naked As We Came," we get this stunning verse: One will spread our ashes round the yard.

Why listen? Few artists approach Sam Beam's lyrical romanticism or quasi-biblicism. Even without knowing of his art degree and masters in film (he taught film in Miami when he recorded his first album at home), Beam overtly understands the aesthetic possibilities of approaching songcraft as a poet, cinematographer, and musician. The collision of these disciplines is apparent and moving. His last album, The Shepherd's Dog, was an eclectic piece 'de resistance of sorts, moving his music in some interesting against-type directions. Who knows what we will get next?
Something else? "Lion's Mane," "Bird Stealing Bread," "Sunset Soon Forgotten," "Love and Some Verses," "Each Coming Night," "Boy With a Coin," "Flightless Bird American Mouth," "The Trapeze Swinger," "He Lays In the Reins" (with Calexico).

25. "Yellow" By Coldplay (2000)

No matter what you think about Coldplay now, Parachutes was a great album. Overly earnest? A little. Brit-pop for people not smart enough for Radiohead? Maybe. A tour-de-force that led to this decade's biggest arena-rock band? Definitely. Because of first single "Yellow," Coldplay eventually filled stadiums. The song soundtracked every freshman's dorm room and required him to reach over and turn to Track 5 before putting the moves on his lady. And who doesn't want to hear lines like this?

Your skin and bones / turn to something beautiful / Do you know? / You know I love you so

Look at the stars / look how they shine for you / and all the things you do

Coldplay has written more accomplished songs since its debut. But "Yellow" lit up more cellphones in sports arenas than any other song of the past ten years, and for that alone the song easily earns a spot on this list. Of course, there's also the small fact that The D Man, while driving over the University Parkway overpass one night in 2000, listened to "Yellow" and got chills during the falsetto "skin and bones" part. Damn you, Chris Martin. Damn you.

Check out the video for "Yellow" right here.

Why listen? Because you really like it.

Something else? "Don't Panic," "Trouble," "Clocks," "The Scientist," "Viva La Vida," and "Life In Technicolor II."

26. "La Cienega Just Smiled" by Ryan Adams (2001)

Ryan Adams has released twelve albums this decade, give or take. If you're counting at home that's more than one per year. Some critics have railed against his prolific urges, arguing less is more. But there is no denying Adam's considerable songwriting talent. And Heartbreaker, Gold, Demolition, Cold Roses, and Easy Tiger are great albums from start to finish. Indeed, even with a few misses, Adams has written more great songs this past decade than fellow traditionalists Bob Dylan, Neil Young, or Bruce Springsteen combined. Yep, you heard right.

"La Cienega Just Smiled," from the excellent 2001 album Gold, is a perfect illustration of Adams' craft. Lyrics of love and dislocation, a perfect country-tinged guitar, and a beautiful piano, all tied together with an acute sense of country-rock's finest songwriting traditions. Named after a street in Los Angeles, Adams chronicles his fond upheaval from L.A. to New York.

Why listen? In a long line of songwriting formalism rooted in a folk-country-rock ethic, Adams delivers a glowing example of the tradition's seemingly tireless appeal.

Something else? "New York, New York" "Desire," "Two," "Answering Bell," "When the Stars Go Blue," "Starting to Hurt, "So Alive," "This Is It," "Let It Ride" "How Do You Keep Love Alive," "Everybody Knows," "I Taught Myself How to Grow Old," "Follow the Lights," "Fix It," "If I Am a Stranger," or even his cover of "Wonderwall." (Hey, the man seriously has a bevy of good tunes, and many of them aren't even on youtube.)

27. "Two Weeks" by Grizzly Bear (2009)

Easily one of this year's best songs, "Two Weeks" is an effortless, ageless pop song, displaying the sunnier qualities of Grizzly Bear's baroque melodies and haunting indie-orchestration. The way lead vocalist Ed Droste sings the melody and hits those three notes in yesterday reminds The D Man why he loves great pop music in the first place. Grizzly Bear has produced two of the best albums of the past five years, and for that the group deserves high praise for evolving and innovating in a very natural way. Yellow House's spare instruments, reverbed melodies, and dreamy rhythms resulted in a hazy, elusive classic, which then gave way to the large-scale production and sweeping ebullience of this year's Veckatimest. Keep'em coming, please.

Why listen? Grizzly Bear is a band in every possible sense. The group's individual and collective musicianship, arrangements, production, harmonies, and aesthetics are easily apparent, timeless, and unassailable. Do yourself a favor and spend a solitary headphone evening with Yellow House or Veckatimest.

Something else? Enjoy "Knife," "Little Brother," "Central and Remote," "Colorado," "Ready, Able."

BONUS: The D Man's brother chilled with Grizzly Bear in NYC. So either the band is cool now or Rip is: you decide.

28. "Untitled" and "Obstacle I" by Interpol (2002)

There may not be cooler opening chords than those in "Untitled," the first track from Interpol's astounding debut album, Turn on the Bright Lights. And while the opening track established the dark, urban euro-spherics, second track "Obstacle I" propelled the album forward with its repetitive sci-fi guitar-line and Bowie-esque vocal delivery. Indeed, no one channeled Bowie or Joy Division with more aplomb this decade, all without sounding derivative (unlike the countless other bands Interpol's success spawned). The icy guitar-work and equally icy vocals sound like the music of some dark, sophisticated future where everyone is forced to live in SoHo, wear skinny ties, and wield post-punk guitars. Pretty awesome.




Why listen? By tapping into the potent realm of post-punk, a musical tradition almost religiously adhered to by followers of the gone-to-soon genius of Joy Division's Ian Curtis, Interpol's first two songs became vital participants of this sonic cult.

Something else? "PDA," "Say Hello to the Angels," "Leif Erikson" "NYC," and "Stella Was a Diver and She Was Always Down."

29. "A King and a Queen" by Okkervil River (2005)

Will Shef's songwriting is some fierce prose, moving in and out of resentment and despondency, with only occasional bursts of self-fulfillment. On Black Sheep Boy, Shef's songs are brooding and wildly alive, replete with bursts of guitar, border trumpets, and picked-over strings. His lyrics thematically hang together like strange fairy-tales hatched in the back of a lonely cantina or conjured up during a red-eyed drive across the west Texas desert. The tenacious "For Real" could easily fit in this spot, but in the more accomplished "A King and a Queen," Shef's restlessness is cast as a love-fable that Leonard Cohen wished he had written.

Why listen? Black Sheep Boy (its liner notes in prose form complete with chapters) is a monument of literate songwriting. "A King and a Queen" has few peers in its high-minded yet thoroughly roots-rock world.

Something else? Enjoy "A Stone," "Black Sheep Boy," "Another Radio Song," "Westfall," "Song of Our So-Called Friend," and "Lost Coastlines."

30. "New Slang" by The Shins (2001)

"You gotta hear this song; it will change your life I swear." With this, Natalie Portman hands her headphones to Zac Braff and the rest is indie-music history. After Garden State, The Shin's "New Slang" became a wry hipster anthem for the internet age, when musical went digital, albums died, and micro-listening was a mouse-click away. To be clear, The Shin's indie-gone-mainstream success, a precursor to a day when the likes of Grizzly Bear would debut in the Billboard Top 10, was not solely due to the movie or their song's ubiquitous online accessibility. "New Slang" is a brilliant song, perfectly updating the textured sonics of 60's pop music. So brilliant, it just may change your life.

Why listen? Enjoy superb traditional pop craftsmanship in the vein of The Byrds or The Beatles. And because Natalie Portman said so.

Something else? Try "Caring is Creepy," "Kissing the Lipless," "So Says I," "Saint Simon," "Gone For Good," "Phantom Limb," or "Australia."

The Dead Weather

Last night at The Depot, The Dead Weather's scuzzed-out blues rock, well, seriously rocked. The D Man and Rip were fired up from the guitar pyrotechnics and almost had to throwdown with some sloshheads to defend a woman's honor. But we're good like that.

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The super group formed in Nashville, Tennesee, after playing together in Jack White's Third Man studio, with Alison Mosshart (The Kills) on vocals, Dean Fertita (Queens of the Stone Age) on lead guitar, Jack Lawrence (The Raconteurs) on bass, and White (The White Stripes) on drums/vocals. A few thoughts and highlights from the show:

• The band's set was tight and furious. 75 minutes. Loud. Real loud. Ears still ringing.
• Mosshart was cool. Her lead vocals were sharp but not shrill. She was slinky, assertive, and commanded the stage. But she also knew when to get out of the way of the music, or, say, a lights-out solo shred. And yes, White came out from behind the drum kit on two songs and killed it with some lightning fast up-and-down fretwork. And yes, he is my hero.
• Fertita is a GQ-looking axeman that can really play. His presence equalled his dense guitarwork. And his swank keyboards added volume like the Count all night long.
• "Hang You From the Heavens" rocked just like you would expect.
• "I Cut Like A Buffalo" just blew the place up with its funky swagger.
• "So Far From Your Weapon" was almost nice. But White sounded downright manic on "You Just Can't Win"
• "Treat Me Like Your Mother" was an appropriate encore. And it's a simple request.
• The send-off: a righteous cover of Bob Dylan's "New Pony." To answer the question: much, much longer.
• White knows how to brand a band. The White Stripes color schemes, album covers, and throwback canvases are well recognized. The Dead Weather continues to trade on past Americana images, but does so with a darker, backwoods dread that befits the music. The tones and themes, from the album art, t-shirts, and stage backdrop, were flawless.
• Which leads The D Man to his next observation: White has decontructed, recreated, and blown up again American roots and blues music more than any other person alive. The Dead Weather is White's latest vehicle to explore the dense, dark side of blues rock in all of its possible variations. After last night's show, The D Man can attest that White's project is a rousing success. Just a quick listen to White's music this past decade demonstrates his complete command and reinventiveness of America's primal sounds without ever hinting at pastiche. See here, here, here, here, here, here, and here for just a few examples.

Song of the Week

Word has it that Fleet Foxes have quickly become the best live band in the world. No doubt they are one of the best bands to resonate from The D Man's stereo, windows down, sun shining. Enjoy "Ragged Wood" and its three-part suite of timeless melodies that will make your bones shiver even in late summer.

Great Bands, Great Songs, Great Videos

Pains of Being Pure at Heart: "Young Adult Friction."

-More Super 8 film. More guazy guitar hooks. Any complaints?

Passion Pit: "To Kingdom Come."

-Try not to get carried away by the buoyant vibe of this song.

Animal Collective: "Summertime Clothes."

-With music this strikingly original, there is not much you can do with the video.

Song of the Week

After bouncing around the country with his first three albums (and touring with Modest Mouse), Cass McCombs is really finding his footing on his fourth record, Catacombs. (Had to happen sooner or later, right? His great album with that name?). McComb's reedy voice and independent bedroom-folk are difficult to define but witheringly addictive. Check out "Dream Come True Girl". (Yes, Karen Black is seriously freaky). And watch the video for "You Saved My Life." This song just floored me on the first listen. Floored me.

Maxwell

Maxwell is damn cool. And smooth. And he can sing. And did I mention he is smooth?

One of the key artists of the so-called neo-soul movement, Maxwell hit the scene with his 1996 debut, Maxwell's Urban Hang Suite. The D Man listened to Maxwell's first album non-stop and can thank it for his first real "moment" with the Mrs. (Details left to your imagination).

After releasing Embrya (1998) and Now (2001), with his stunning cover of Kate Bush's "This Woman's Work," Maxwell spent the last eight years "taking some time off." And cutting his hair. But he is returning now in a big way, with a trilogy of albums called BLACKsummers'NIGHT. Apparently, one album will be released for three straight summers. Check out the first single, "Pretty Wings."

Bad Songs

The D Man rarely writes about bad music. But I recently heard a song on the radio that floored me, and I instantly said to myself: "this is so bad, I've got to write about it." While driving in to work, casually listening to a local country radio station (hey, you do it too), I heard a song riddled with so many bad lyrics I almost hit a pedestrian. At the time, I missed the name of the brilliant "artist," but a few Google searches later and I came across Jo Dee Messina and her incredible song.

How many lifeless, meaningless cliches can you fit into a song? Well, feel free to count along with me.

(1) easy ride

(2) the merry-go-round that we call life

(3) take a drive on cruise control

(4) winding road

(5) the money ran out

(6) the engine blew

(7) the clear blue sky

(8) walking in the clouds

(9) safe and sound

(10) knocks me down

(Chorus now--not even remotely finished)

(11) that's the way it is

(12) you gotta roll with the punches

(13) that's the way it goes

(14) you gotta bend when the wind blows

(15) you live, you learn

(16) you crash, you burn

(17) it's hit or miss

(18) that's the way it is (just for good measure)

(Sorry, there's more)

(19) I feel like throwing something

(20) one fine day

(21) hopelessly fallen in love

(22) just what you're looking for

(23) the only problem is

(24) you don't feel a thing

(25) I know from experience

(26) makes perfect sense

(27) you get what you want

(28) but it's not what you think

(29) you get what you need

Unbelievable, right? Is this supposed to inspire me? Motivate me? Entertain me? Make me nod my head up and down and say "yep, you're right, that's the way it is." That's the way what is? Winding roads, merry go rounds, and clear blue skies? Apparently. As someone who has written several songs (see "Like There's No More Love to Go Around" and "Hop, Skip, and A Jump"), The D Man realizes now that, at the very least, he could make a good living penning deep tracks for mediocre country albums. Thanks Jo Dee--have your agent give me a call.

Summer Tunes

The D Man remembers countless soundtracks to summers past. The songs. The places. The sensation that summer is endless despite its fleeting nature. Enjoy a sampling of some of the songs that have been in heavy rotation--in the car, windows down, feeling good.

• The Whitest Boy Alive: "Intentions"
• Camera Obscura: "The Sweetest Thing"
• Passion Pit: "Little Secrets"
• Grizzly Bear: "Ready, Able"
• Phoenix: "Lasso"
• Bat for Lashes: "Pearl's Dream"
• Belle & Sebastian: "If You're Feeling Sinister"
• Junior Boys: "Bits & Pieces"

Song of the Week

It's summertime.  Even in Canada.  And The Rural Alberta Advantage, hailing from somewhere near that great province, have released their impressive debut, Hometowns, on Saddle Creek Records.  Enjoy the homespun video that convincingly captures the essence of Canadian summertime on that great swath of prairie.

                              

Pete Yorn

Pete Yorn's 2001 musicforthemorningafter was easily one of the best albums of that year.  A pleasing blend of slightly-down trodden, acoustic-based rock with touches of Springsteen, The Stone Roses, and even The Smiths, Yorn's debut catapulted him close to the mainstream.  The D Man saw Elbow open for Yorn at old Club DV8, and while the crowd scratched their heads during the British band's set, they were definitely feeling Yorn's California-via-Jersey thing.  (At this point, I should mention that the Mrs. thinks Yorn is super hot).

Since then, Yorn has toured consistently and built a solid fan base with follow-ups The Day I Forgot and Nightcrawler.  Yorn's second album was very solid, if not slightly underrated, while his third effort, although decent, was perhaps a little overproduced and unsuccessful in looking for new musical space.  (When we saw him play at Bricks, my wife said he was totally hot).

On new album Back & Fourth, Yorn teams with Bright Eyes producer Mike Mogis and rejuvenates his sound with a set of mellow strummers brimming with melody.  And word has it that Yorn is teaming with Scarlet Johannson (yes, that Scarlet) for a record of duets.  Yorn will be in town on August 16th and The D Man will be there for his fourth time around.  (Yep, you guessed it, still hot).

The King of Pop

Like many, The D Man chooses to remember the Michael Jackson from his days with the Jackson 5 through the Bad album.  The King of Pop was ubiquitous for just about everyone throughout the 1980's.  Rest in peace.  Shu mon.

The D Man's favorite songs:

(1) "Billie Jean"

(2) "Beat It"

(3) "Thriller"

(4) "Don't Stop 'Til You Get Enough"

(5) "Smooth Criminal" 

(6) "Rock With You"

(7) "The Way You Make Me Feel"

(8) "We Are The World"

(9) "Human Nature"

(10) "Bad"

Then you have Jackson 5 classics like this, this, and this.  And if this song didn't inspire you, well, you need take a look at yourself and make a change.

Song of the Week

Camera Obscura's video for "French Navy" makes you want to put on a sweater, walk down to the park, and find someone to kiss.  If you're married, hopefully it's your wife.  And if you're into seriously sweet and infectious little pop ditties, you should check out My Maudlin Career.

                                                    

Song of the Week

The D Man is still grooving to the chilled-out twilight electro from Junior Boys' Begone Dull Care.  Enjoy a fan mash-up for the song "Parallel Lines."  The Canadian duo of Jeremy Greenspan and Matt Didemus continue to make sleek, sexy music for those who think technology isn't a dirty word.

Random Things You Should Check Out

The D Man is always looking out for the savvy observer and erudite listener. If that describes you (and since you're here, it just might), go ahead and check out some recent musical touchstones.

• Grizzly Bear's new song (and album, for that matter) is so good that it will make heads explode.
• So what'cha want?  How 'bout the Beasties kicking it live on late night, what with the recent reissue of Check Your Head and a new album in the works and all.
• Mark Kozelak recently said this song was his all-time favorite.  So you should listen.
• Japandroid's new album Post-Nothing spews out catchy, fuzzed-out indie art-punk.  Got it?
• Iron and Wine released Around the Well, a collection of outtakes, b-sides, covers (Postal Service, New Order, The Flaming Lips), and otherwise really good songs.  And Sam Beam is singing for free in Salt Lake City this summer?  Come again?
• Cymbals Eat Guitars keep growing on me, taking some interesting detours from the usual Pavement pushers.
• Can't stop listening to Middle Cyclone from Neko Case with tracks like this and this.
• Bowerbirds "Northern Lights" deserves more than a listen or two.
• Sufjan Stevens could have been called Calvin but instead sang a song about Sofia Coppola.

Classic D Man

The D Man realized today that listening to Grandaddy beats taking a deposition anytime.  The keyboard-driven band from Modesto has recently disbanded and lead singer Jason Lytle has moved on to other things, including some solo work.  The band's ruminations on the alienation of technology and its affect on the environment produced two really great albums, The Sophtware Slump (pun intended) and Sumday.  Enjoy two songs fit for driving this summer: the video for "Now It's On," below, and this fanboy gem that easily catches the essence of "Stray Dog and the Chocolate Shake."

Song of the Week

After Grizzly Bear's sublime 2007 album, Yellow House, The D Man has been eagerly looking forward to the next reincarnation of the band's baroque melodies and haunting indie-orchestration.  "Two Weeks," from the forthcoming Veckatimist (an island off the coast of Massachusetts), suggests it was well worth the wait.  Check out the recent Letterman performance and the fan video set to the famous French film Le Ballon Rouge, which seems to be a perfect setting for the sunny qualities of this brilliant song.  Easily one of the year's best.

TaughtMe

Blake Henderson is a creative force that has released three albums as TaughtMe.  The D Man grew up on the same street as Blake, who used to rip up junior high talent assemblies as he was the only guy in school who could actually shred and sing at the same time.  The D Man also remembers driving Blake down to Boothe Brothers Music on Main Street to check out guitars. We went to McDonald's afterward.  Even then, I knew Blake was much cooler than me. 

The D Man placed several of TaughtMe's records in music stores along High Street in Columbus while attending law school, believing people should listen. (Check out an early favorite "More").  The D Man has followed Blake closely over the years as TaughtMe has had great success touring and making records.  Last summer, TaughtMe even opened for Low, a dream come true for Blake as the long-time indie-staples have been a personal muse.

Enjoy a recent podcast from Chasing the Moon.  Stay tuned for Blake's interview that follows and then read up and buy some music here.

Song of the Week

Phoenix is set to explode in the United States, given their recent performance on Saturday Night Live. Or like many great bands from across the pond (in this case France), they will simply continue to attract a devoted following among in-the-know indie-pop kids. I'm fine either way; in fact, I'd actually prefer to see them in a small club. And since they are better than The Strokes, I can enjoy the smug satisfaction in knowing that only really cool people with great taste listen to one of the most nonchalant but accessible bands today.

Enjoy the recent performance of "1901" from the forthcoming Wolfgang Amadeus Phoenix. And check out the new video for another great track, "Lisztomania."

Christopher Cross

My sister-in-law recently asked me to name my all-time favorite love songs. That will take some time to think. But ask me to name my five favorite Christopher Cross songs? Now that comes easy.

1. "Sailing." Have opening guitar lines ever instantly transported you to serenity like this? I didn't think so.
2. "Arthur's Theme (Best That You Can Do)." Did that rascal Arthur really deserve a song this big and this good? Probably not. And I know, I know: how does a voice like that come from a guy like that? You may call it irony but I prefer to call it true genius.
3. "Think of Laura." I just started to cry. Spontaneous crying.
4. "All Right." I remember driving home one night from my girlfriend's (now my wife's) house and this song suddenly appeared on the radio (well, not exactly suddenly; I was listening to some adult contemporary stuff, hoping for early eighties, right in the sweet spot) and I started singing, hoping, and even believing. Mr. Cross was right. We were gonna make it.
5. "Never Be The Same." The next time you're at the dentist and this beauty comes on . . . well, I hope the drill doesn't drown out the chorus. You will be humming it long after the numbness goes away.

I really do like these songs. Even love may not be too strong a word. And I think the Grammy's actually got it right for once when the voters awarded Christopher Cross' 1980 debut "Album of the Year" over a little known record called Pink Floyd's The Wall. Stay classy Chris. All the best.

Song of the Week

Passion Pit is set to release its debut full-length, Manners, on May 19th. By now, hopefully you have heard the fantastic "Sleepyhead" and other songs from the Chunk of Change EP. The co-opting of dance music by indie rock has been well-documented, but its possibilities continue to produce some interesting, and at times, even thrilling results. Enjoy the video for first single "The Reeling."

The Battle For Oklahoma's Soul

Last week the Oklahoma House voted 48-39 against Senate Joint Resolution 24, which would have sealed The Flaming Lip's "Do You Realize??" as the official Rock Song of Oklahoma. Apparently, some of the politicians didn't care for the band's wardrobe or choice of lyrics. However, in a sign that all is not lost in American politics, Governor Brad Henry will sign an executive order on Tuesday, April 28, upholding the will of the people. In a statewide internet vote, that song was the choice of 51% of more than 21,000 votes cast. Senate Joint Resolution sought to codify the vote, but was narrowly defeated.

"For more than 20 years, Oklahoma's own Flaming Lips have produced creative, fun, and provacative rock music, " Governor Henry said. "The music of the Flaming Lips has earned Grammys, growing critical acclaim, and fans all over the world. A truly iconic rock 'n' roll band, they are proud ambassadors of their home state."

They were clearly the people's choice, and I intend to honor that vote."

Silversun Pickups

This month is the fifteenth anniversary of Kurt Cobain's death, so it shouldn't be shocking if at least one band is looking back to the musical soundscape that Nirvana left in its wake. On Carnavas, Silversun Pickups enjoyed success with "alternative" music nostalgia, most notably from the great single "Lazy Eye." Although criticized as derivative of Smashing Pumpkins (mainly the voice) or accessible Sonic Youth (as if that's so bad?), the L.A. band puts together a strong ten-song set on its second album Swoon. Silversun Pickups continue to mine post-grunge tropes but to surprisingly good affect, primarily by a willingness to eschew soft-loud/verse-chorus dynamics in favor of more free-form guitar-based melodies and meandering song structures, album opener "There's No Secrets This Year" being a prime example. Check out the video for first single "Panic Switch" to satisfy more of your alternative guitar needs--sinewy bass-line included.

Song of the Week

Bat for Lashes' second album, Two Suns, lights up a lush underworld of lullabies, dreams, and dirges. Natasha Khan's subterranean voice, reminiscent of Bjork or early Tori Amos, floats over, through, and around some seriously great songs. First single "Daniel" is a brilliant pop gem (with a stunning viola arrangement) that will slither into and haunt your subconscious self for weeks. And the accompanying video gets bonus points for the Labyrinth-esque performance art and the winking nod to our favorite karate kid.

The Hold Steady

The D Man, The Rizzo, and J went to The Hold Steady show on Saturday. We enjoyed some unadulterated rock'n'roll and all-around positive vibes from the great Minnesota-via-Brooklyn band. A few highlights included:

• A poser getting turned away at the door because he didn't know what band was playing.
• Starting the show off with a perfect opener: "Constructive Summer."
• The D Man nailing the sing-alongs to rock-story anthems like "Sequestered in Memphis," "Chips Ahoy!," and "Stay Positive."
• Tad Kubler pulling out the double-neck guitar and wailing like an Allman brother.
• Craig Finn mouthing lyrics and questions to the audience in between vocals.
• Killing it with "Stuck Between Stations" as the first encore.
• Enjoying some fresh April air after the show. The little things.