TOP TEN ALBUMS OF 2013 (GUARANTEED VAMPIRE WEEKEND-FREE!)

Yes, it's been a really long time since I've been here, updating No Expiration. I'm going to try to return more often in 2014.  You can read a lot of my stuff here at Radio.com, the site I work for (along with a number of websites for CBS owned classic rock, classic hits and Jack stations, along with Chicago's WXRT).

I'm planning on sharing my take on upcoming music events including the GRAMMYs and the Rock and Roll Hall of Fame, as well as links to some of my interviews, videos and features.  But for now, I'm  returning with my take on the best albums of the year. 

Regarding the headline, I don't really have anything against Vampire Weekend, I am not that familiar with their music (although the few times I've heard their music, it hasn't really kept my attention). I think that they are a "zeitgeist" band - a band who, through a confluence of fans, critical acclaim and an intangible "x factor," are a band who everyone who works in music is expected to pay attention to, and expected to like. That's fine. I definitely like some artists who fall into that category. 

Anyway, I've been having a hard time coming up with an actual order for my favorite albums of the year. In recent years, I've had a handful of albums that rose to the top. In 2007, it was Ben Harper, Bruce Springsteen, Steve Earle, Mavis Staples and Robert Plant/Alison Krauss. In 2008, the Foxboro Hot Tubs. In 2009, Bob Dylan, the Cocktail Slippers, Rancid and Levon Helm. 2010, it was the Drive-By Truckers and Mavis Staples. 2011: Social Distortion and Foo Fighters. And last year, Bruce Springsteen's Wrecking Ball. 

This year, I have a number of albums that I've enjoyed, but no clear favorites. But I'll try to put them in some sort of order here. So, let's start already!

1. Ben Harper with Charlie Musselwhite - Get Up! Two generations of blues artists come together. The easiest thing in the world would have been to make this a covers album. Instead, Ben (and the guys from his current band) wrote a bunch of songs that should be blues standards in the years to come. I had the pleasure and honor of interviewing them when their album came out, and that was a huge thrill. Shortly after that, I saw them playing a show at Irving Plaza (way too small of a venue for them) and it was mind-blowingly great. Check out my review, with my wife's amazing photos, here. Anyway, I'm curious to see what Ben does next: I'd love to see him reunite with his old band, the Innocent Criminals, in 2014.

2. Nine Inch Nails - Hesitation Marks This was one that I thought was really overlooked by music critics. But I realize that a white, angry guy forever connected to the '90s who looks like he could totally kick your ass isn't who critics get behind these days.  But whatever. This album was really innovative. Of course, Trent has to compete with his past, which definitely looms large. Pretty Hate Machine, Broken and The Downward Spiral were all game changers. I don't know that he has another earth shaking record in him like that again. And he isn't that guy anymore: he's married, he has kids, has greyhounds. And yet, I think he's still haunted by every artist who ever disappointed him: he doesn't want to get soft, get boring or sell out. And he doesn't. Not only was this a great album, but he supported it with a great tour: first he did the festival circuit (they pretty much blew everyone away, including Mrs. Carter, at Made In America) and then revamped the band, put together a new stage show and raised the game once again on his headlining tour. Check out my review of that, and (again) my wife's amazing photos, here. I should also mention that his album with How To Destroy Angels was great, and their concerts were amazing too. I can't wait to see what Trent does next.

3. Kanye West - Yeezus Ok, I'm with the critics on this one. And yes, I know he's a douche. I've already written about my first (and only) encounter with him, you can read about it here. Do I buy into any of his hype? No. The Wall Street Journal wrote a scathing retort to his complaints that the fashion world is preventing him from entering their world. I wouldn't look to him as a fashion icon anyway. But what he is great at is making records. Of course, sometimes he needs some help and that was the case here: Rick Rubin exec-produced this album, and I'm sure that was a big factor. But Kanye knows a great track when he produces it, and he knows who to collaborate with (he worked with Daft Punk on "Black Skinhead," a highlight of the album). And he's still a compelling MC. I even like "Bound 2" but let's not talk about the video.

4. Mavis Staples - One True Vine Mavis's second collaboration in a row with Wilco's Jeff Tweedy. I don't like this one as much as their last record, You Are Not Alone, but this is still pretty great. Once again, Tweedy wrote the best song on the album. Last time, it was the title track, this time it's "Every Step." As great as the songs that Tweedy writes for Wilco are, I think he saves his best songs for Mavis. Another highlight is the cover of Funkadelic's "Can You Get To That." Mavis is the rare artist who improves with age. I went to see her in concert at New York's City Winery, and it was one of the best shows I saw all year. It made you feel good to be alive.  Thank you Mavis.

5. Queens Of The Stone Age - Like Clockwork On one hand, I really like Josh Homme and all of his projects. On the other, I don't always go completely gaga for them as some others do. I really liked the Queens circa Songs For The Deaf, when they had three vocalists: Josh, bassist Nick Oliveri and Mark Lanegan. I thought that they sounded too "samey" once it was just Josh. And then I saw them at the Made In America festival. I thought they were great, and that the new songs were amazing, so I checked out the album, and really loved it. "I Sat By The Ocean" is one of my favorites. Josh got bonus points for calling Jay Z out after playing Made In America. I like some of Jay's stuff, but everyone else falls all over themselves trying to be his pal. Josh comes from a different era and a different school.

6. Arctic Monkeys - AM I really thought all the critics would go crazy over this album. They've been hyping the Arctic Monkeys forever. In my mind, they're one of the few bands that the media go crazy over who actually deserve the hype.  I loved their debut album, 2006's Whatever People Say I Am, That's What I'm Not, and everything since. But I think this might be their best album. It combines their tight songwriting, which has always been a hallmark of the group, but also adds a lot of the "weirdness" that Josh Homme brought to the group when he produced their 2009 album Humbug. Josh actually sings backing vocals on a couple of songs here, giving him presence on two of my top ten albums of the year. Way to go, Josh!

7. Elvis Costello and the Roots - Wise Up Ghost More proof that both Elvis and the Roots can tackle any kind of music. A lot of this album reminds me of the Specials.  Sometimes these kinds of combinations can come off a bit contrived, but you know that with this one, it was all about mutual admiration and respect. I would love to see them tour together: imagine what Elvis songs they would revisit if they had time to rework some of his classics.  (In my world, Black Thought would be part of the tour and they'd do a bunch of Roots classics as well, Elvis could play along on guitar). Anyway, I'd file this with Elvis's great collab with Allen Toussaint, and the Roots' album with John Legend.

8. Black Sabbath - 13 Like everyone else, I approached this with managed expectations. I mean, could they still make a classic? Well, time will tell, but this album seriously kicked ass. And, OK, it doesn't  quite live up to the first six Sabbath albums, but it's at least as good as Never Say Die! and is better than Technical Ecstasy.  I obviously have a lot of feelings about the band: as I tell everyone I've ever met, I wrote the liner notes to the Black Box, and a while back was interviewed by A&E for a Sabbath doc. I was not disappointed by this album (other than the fact that they couldn't get it together with Bill Ward to have a full reunion; that said, Brad Wilk did a great job on the album, and Tommy Clufetos was great live). A lot of credit is due to producer Rick Rubin (him again!) but also to Ozzy, Tony and Geezer for bringing their A+ game. Especially Tony, who was going through chemo at the time.

9. Walking Papers - Walking Papers A new band featuring Duff McKagan on Guns N Roses and Barrett Martin of Screaming Trees and Mad Season. It sounds like nothing Duff has done, it's really more like Barrett's bands. In fact, singer Jeff Angell sounds a bit like Mark Lanegan. It's definitely a hard rock album, but more of a dusty Tom Waits type blues vibe (not a Clapton blues vibe). I was fortunate enough to interview Duff and Jeff for a Radio.com New Music To Know (read it here) and they were super cool. But what really turned me on to them was seeing them live on the second stage at the Rockstar Energy Drink Uproar Festival (see my review and my wife's photos here). They were really great, and I bought their album right there, and then reached out to get an interview. This isn't a "side project," it's a great band, please be clear. I hope they tour in 2014, I want to see them again!

10. Valerie June - Pushin' Against A Stone I also interviewed her for Radio.com's New Music To Know (read it here). I heard about her because some of the songs were produced by Dan Auerbach of the Black Keys (one of my favorite producers) and I think I'd read about her somewhere. I checked out her album and was blown away.  It would be great if she was a "zeitgeist" artist, but she's not going out of her way to enter the conversation for anything other than her amazing singing voice and her great songs. I think music lovers will be following her career for years to come.



So, there you have it. But ten isn't enough, here's a few other albums that I feel I have to add:

• Daft Punk Random Access Memories It has my favorite song of the year (yes, "Get Lucky") and it sees them turning their backs on the EDM scene they may or may not have created, eschewing samples and using all live musicians, including Nile Rodgers. 
• M.I.A. Matangi It has another of my favorite songs of the year ("Bring The Noize"). She's one of the most interesting artists today, consistently. 
• Alice In Chains The Devil Put Dinosaurs Here In which they prove that the "new" lineup, with singer/guitarist William DuVall is for real. One of the most underrated albums of the year. 
• Haim Days Are Gone Yeah, I'm with the critics on this one, too. I don't know how it's "indie" though, it sounds like '80s era Fleetwood Mac and Genesis, and I mean that as a compliment. Especially relative to what most indie rock sounds like these days. I saw them at Made In America and they were incredible. 
• Aaron Neville My True Story In which he revisits his doo-wop past, on a stripped down record produced by Don Was and Keith Richards. 
• Holly Williams The Highway The granddaughter of Hank, her artistry stands on its own. She's great. "Drinkin'" is devastating. 
• Lindi Ortega Tin Star I discovered her opening for Social Distortion, she was great. I wish the press would pay attention to her, she surely deserves it. Another artist who I covered for Radio.com's New Music To Know. A super cool chick as well. 
• Jason Isbell Southeastern The former Drive-By Trucker (who wrote my favorite DBT song, "Never Gonna Change") announced this album by saying it was the best thing he's ever done. Well, it is pretty freaking great. Check it out. 
• Lone Bellow Lone Bellow A great new band, when they sing together it's magic. Do yourself a favor and check them out. 
• Kacey Musgraves Same Trailer Different Park  Another time the critics are right. Her debut is excellent, she will get my vote for Best New Artist at the GRAMMYs. 
• Hanni El-Khatib Head In The Dirt Another Dan Auerbach production, it's great garage rock from L.A. 
• Sara Bareilles The Blessed Unrest I'm sorry to say that I only listened to this after it got a GRAMMY nomination, and well deserved. I interviewed a lot of music writers about her, all of whom were surprised, because she's not part of the zeitgeist, or the conversation. Which is all hte more reason to check this album out. 

Well, that's pretty much it. Bring it, 2014!

MARK LANEGAN BAND "BLUES FUNERAL"

I was surprised when I realized that Mark Lanegan's Blues Funeral is his first solo album since 2004's Bubblegum (a really underrated record).  Of course, he's kept busy over the past decade: he joined (and then left) Queens Of The Stone Age, he's done records as a duo with former Belle & Sebastian member Isobell Campbell and he had The Gutter Twins band with Greg Dulli. He's also collaborated with Soulsavers on two LPs, and I think that the latter experience influenced the sound of this album.

Soulsavers is a British dance music/remix team with a big rock, gospel and country influence.  Lanegan went in some new directions with them; he sang on two albums and also performed with them. The Soulsavers don't appear on the LP, but Lanegan kept a contemporary (but not pandering) sound here, thanks to his "Band," namely multi-instrumentalist Alain Johannes and drummer Jack Irons.  In other words, 2/3 of Eleven.  Johannes produced the record as well, and I'd love to get a copy of this to The Edge: U2 should sign this guy up immediately. I feel like this is the album they were trying to make last time.  It is definitely the kind of album Chris Cornell was trying to make on his last solo joint (and since Johannes has worked with Cornell on his solo albums, it's a shame that they didn't come up with anything this incredible).

"Bleeding Muddy Water" is a classic blues or soul song: I'd love to hear Gary Clark Jr. covering this one.  "St. Louis Elegy" sees Lanegan and Dulli singing together again: it's a potent blend, and I'd recommend that Greg consider working with Johannes on the next Twilight Singers LP. "Riot In My House" is as close to metal as Lanegan's gotten on his own records; unsurprisingly, Queen Josh Homme is wailing away on the track. "Ode To Sad Disco" is definitely a song U2 would wish they wrote if they heard this, and ditto for "Quiver Syndrome." (by the way, I realize how off-putting my U2 references are to Lanegan fans. Apologies).

I can't think of many examples of an album that sounds so cutting edge, while maintaining a kind of warmth.  It rocks, it swings.  A couple of years ago, if you told me that Lanegan would do a fresh sounding, electronic-tinged record that would blow my mind, I may not have believed it. But it's kind of like Johnny Cash singing on U2's "The Wanderer" (them again).  It shouldn't work, but it works.

The year isn't 25% over, but I have to think that this will make my top 10 of the year.  If it doesn't, it will have been an amazing year for music.

GUEST POST: MY FRIEND TOM SAW THE SECRET QUEENS OF THE STONE AGE GIG IN SEATTLE

About a week ago on July 31, Queens Of The Stone Age played a gig at Seattle's famous Showbox Market.  They're promoting the reissue of their self-titled debut album, originally released in 1998 on Stone Gossard's Loose Groove Records.  My good friend Tom was there and agreed to email me an account of the show (Tom is a true rock and roll dude, and was even thanked in the liner notes of Bruce Springsteen's Promise box set).  Tom went above and beyond as usual, and here's his report.


The first show that Queens of the Stone Age ever played was in downtown Seattle in November of 1997 so it seemed fitting they would perform their debut album in its entirety, for what was supposed to be a “secret show” here in downtown Seattle last Sunday night.

Queens of the Stone Age – Josh Homme (lead vocals, guitar), Troy Van Leeuwen (guitar, backing vocals), Joey Castillo (drums, percussion), Michael Shuman (bass guitar, backing vocals) and Dean Fertita (keyboards, guitar) – took the stage at roughly 9 pm.  QOTSA are not from Seattle but Homme certainly has enough of his own history here.  Homme became part of the local scene after the dissolution of his former band Kyuss, when he briefly joined Seattle legends Screaming Trees, as their touring guitarist, before forming QOTSA.  On stage Homme made sure to pay homage to Trees’ frontman Mark Lanegan (a one-time Queen) and former label boss Stone Gossard.  Homme mentioned that the first show QOTSA ever played was nearby at the OK Hotel – a bar/music venue located under the viaduct in Seattle’s Pioneer Square district – Homme laughed that it was one of their worst performances ever.  But tonight, the Queens played like heroes, performing the entire album from start to finish.  This album was the brainchild of Homme, who wrote all the songs and played guitar and bass guitar to the record, but his band mates (none of whom were in the band at the time) played these songs like they had been performing them for years. It was a real treat, especially if you never got to see Homme and crew in the old days.

The Queens opened with the debut's first track, “Regular John,” a stoney tune with a Kyuss feel, which seemed to have more life than the album’s studio version.  The guitars were brighter and more prominent too, compared to the steady mix on the album.  I actually had to go back and listen to the album after the show, in order to recall what Homme was doing live on these songs during the live show.  You couldn’t tell if the band re-worked any of the songs’ parts because they seemed so fresh and exciting.  Josh has become a totally solid live performer and this show was on-par with anything else he has ever done, (including Them Crooked Vultures).  The energy level was amazing and the band was having a blast.

Homme’s button down blue dress shirt was soaked with sweat as he continued to play some of the best lead guitar I’ve ever seen and he moved around the stage pushing the audience harder and faster.  He was ribbing us in the crowd (good naturedly) and invoking the whole point of rock n roll…"we just want all of you to have a good time."  Homme spent equal time facing each band member as they performed instrumental sections of "The Bronze," a bonus track on the re-issue.  At one point during “Mexicola,” Homme turned to drummer Joey Castillo who Homme later called “the only Mexican in Seattle,” and Joey started playing amazing drum fills that were different than that of the album version.  Joey was an absolute monster on the drums.  He didn’t miss a beat all night.  Michael Shuman, same thing - he just had head-splitting energy that drives the dynamic range of QOTSA over the top.  His harmonies were on point and you were able to see the skills this kid has on the bass guitar.  He makes you forget about how great Nick Oliveri was when he was their bass player.  Troy Van Leeuwen looked cool because he had a cool pinstripe suit on with a fancy tie to boot.  He was rocking... and you know that the rhythm guitarist never gets enough credit.   Dean brings in the bits and pieces that put the tunes over the top.  Reaching back to tear through some Mark Lanegan tunes all the way to the insane tease of “the polka song.”

You got the feeling Queens of the Stone Age were really excited to play this show not only because they had a chance to play an entire album worth of songs that aren't part of the usual repertoire.  The crowd was equally excited to hear live renditions of some of their favorite old school QOTSA songs.  After bout an hour they finished playing through the entire first album, so Homme and the band came back out and said they were having a great time and would play anything the crowd wanted for the next 30 minutes.  The crowd went nuts and then Homme proceeded to take requests and you just knew that someone was going to request “Feel Good Hit of the Summer” Before going into it, Homme simply said: “let’s get fucked up,” and then the crowd sang along with him the entire song and if they didn’t know the lyrics beforehand, they certainly did by the end of the song.

One of my favorite moments was when Josh told this guy down in front, who was wearing sunglasses, that he wanted to suck his dick “because he was so cool.”  Homme also pointed out some girl sitting on top of a guy’s shoulders, who was apparently at the Soundgarden show the previous night at the Gorge Amphitheater where Queens of the Stone Age played third on the bill, as she flashed him and flipped the crowd off when Homme said: “My sister is fuckin’ crazy right?”

In keeping with their reputation, Queens of the Stone Age killed in Seattle last Sunday night.  Performing every song from their self-titled debut album made the show extra special, but taking requests from the crowd really made this a classic and unforgettable performance.  Their stage presence was attention grabbing and the quality of their live performance – in my opinion – surpasses their studio work. Plus, Josh Homme never fails to make you laugh.  This show overall was definitely an over-the-top performance.  It made me wish that I had been able to see them when they started out in Seattle to be able to compare.  I can’t wait to see them again.

'95 PELTIER BENEFIT FEATURES RAGE, BEASTIES, HELMET

Via Pitchfork, I saw that a new website has been set up to offer free downloads of a Leonard Peltier benefit album that was supposed to come out in 1995, but never did. Exiled In The Land Of The Free was supposed to come out on Columbia, didn't, and now a former employee of the label set up a site offering the album as a free download in hopes of bringing more attention to Peltier's cause.

The album features a live version of Rage Against The Machine's "Wake Up," Corrosion Of Conformity's "Land of the Free Disease," Helmet's "Just A Patsy," The Beastie Boys' "(R)evolution Time" and tracks by Josh Homme, Bad Religion, Quicksand and Mike Watt. Plus Zach de la Rocha backed by C.O.C. doing the Minutemen song "The Punchline."

THEM CROOKED VULTURES AT ROSELAND

OK, the above performance isn't from Them Crooked Vultures' Roseland show, it was two nights before on Saturday Night Live. But like on SNL, they were big, bad, riffy and had mad swagger (in the parlance of the times). They were a heaving juggernaut of awesome heavy blues-based (but not blues reverent) rock. TCV is on the cover of the new Guitar World, and in the feature, frontman Josh Homme says that he would have had a real problem if he felt like he was filling in for Robert Plant, Jimmy Page or Kurt Cobain. It's actually the perfect attitude to have. It allows the group to be their own group and not a "supergroup." Also in the article, it looked like Dave Grohl kept Josh from making the band too riff-y and not song-y enough... there are some killer riffs and great songs on the album, but I wish they worked on the songs a bit more. That said, they were righteous live, especially on "Scumbag Blues." It was great to see Dave Grohl playing drums (I never saw Nirvana; I've seen Dave play drums a bit with the Foo Fighters and I saw a Mike Watt gig when he played drums for most of the show). This was the first time I ever saw John Paul Jones perform: I have seen both of his surviving Led Zeppelin ex-bandmates, but never John. He was just as cool as you would expect. He's 64 and playing super heavy rock with guys decades younger than him. He looks great, sounds great and his fingers move super fast. I've heard that Them Crooked Vultures are thinking about the next album already. Here's hoping they knock it out quickly, I can't wait to hear where they go from here (with apologies to Dave's bandmates in the Foo Fighters).

Honorable mention to guitarist/keyboardist Alain Johannes, who plays with the band at their live shows. A former member of Eleven (I saw them open for both Pearl Jam and Soundgarden), he also plays with Homme in Queens of the Stone Age and on Josh's Desert Sessions albums, he really added to the band's live sound.  They should have him join as a full member, even though he isn't famous.

BEST OF THE 00's: DAVE GROHL

I remember watching The Backbeat Band on the MTV Movie Awards in 1994 and wondering if Dave Grohl would ever play to such a large crowd again.

At this point, of course, Nirvana had ended with Kurt Cobain's death, and no one could have anticipated that Dave Grohl would have become what he became. Dave was playing drums for a "supergroup" that also featured Afghan Whigs frontman Greg Dulli, Soul Asylum frontman Dave Pirner (a huge star at that time), Thurston Moore of Sonic Youth, Don Flemming of Gumball and Mike Mills of R.E.M. They recorded an album of garage rock classics for the soundtrack of the film Backbeat, about the early days of The Beatles when they were playing clubs.

Of course we know how it all turned out: Grohl became the singer/songwriter/leader of Foo Fighters, one of the biggest rock bands of the second half of the '90s. 1995's Foo Fighters (essentially a solo album on which Dave played everything, except one guitar track by Dulli), 1997's The Colour and The Shape and 1999's There Is Nothing Left To Lose showed that Grohl was a great songwriter and leader in his own right, certainly influenced by Nirvana, but not afraid to go more metal, or more pop. Refreshingly, he didn't have a problem with being popular, playing arena stages, and rubbing shoulders with classic rockers.  That would continue in the '00.

2000's releases were a cover of Pink Floyd's "Have A Cigar" for the Mission Impossible II soundtrack (Foos drummer Taylor Hawkins sang lead, and Queen's Brian May played lead guitar), and a bunch of guest appearances.  Dave, along with Frank Black and David Bowie guested on a great song, "Jewel," from Bowie (then-) guitarist Reeves Gabrels' solo album, Ulysses.  In interviews, Grohl expressed hope that those musicians would work together again (which never happened). Also that year, Dave wrote, sang, and played drums on "Goodbye Lament" from Tony Iommi's debut album Iommi. Grohl has always had a great sense of humor (remember the Nirvana In Utero commercial with Bobcat Goldtwhait, and the Foo Fighters "Big Me" video?). In 2001, he played drums on Tenacious D's debut album, a rocking album.

Speaking of rocking, in 2002, he briefly joined Queens Of The Stone Age for the Songs For The Deaf album, probably the best album Dave played on in the '00s. The lineup at that point was singer/guitarist/songwriter/founder Josh Homme, along with bassist/vocalist Nick Oliveri and singer Mark Lanegan (formerly of Screaming Trees). I don't always buy into the Queens, but I have a lot of respect for Josh, and this is his finest moment. The album really overshadowed the next Foo Fighters album, One By One, which came out later that year, and that point, I kind of wondered if Dave was still into the Foo Fighters.

There were more sessions: he played guitar on Bowie's cover of Neil Young's "I've Been Watiting For You," played drums and some bass on Cat Power's You Are Free album and played drums on the entire Killing Joke self-titled album (reportedly free of charge).

In 2004, he put out the long-talked about Probot project. A full-on underground metal project, Grohl was recording (on his own) metal jams in the style of some of his favorite old bands.  Eventually he started calling the frontmen of those bands to contribute lyrics and vocals, and the album includes Lemmy, Max Cavalera, King Diamond and Mike Dean of Corrosion Of Conformity among others. The album got respect among real metal fans who didn't give a shit about Nirvana or the Foo Fighters.

In 2005, he played drums on one of Garbage's best songs, "Bad Boyfriend" (filling in for the band's usual drummer, Nevermind producer Butch Vig), and also on most of Nine Inch Nails' With Teeth. It turns out that these outside projects help keep him inspiried for the Foo Fighters, because on the next album, the double CD In Your Honor, he seemed rejuvinated.

Named in tribute to John Kerry (who Grohl "opened" for on his campaign trail in 2004), the album was half rock and half more acoustic stuff.  The acoustic side had some notable guests, including Norah Jones, Josh Homme and John Paul Jones. This was the best of the decade's three Foo Fighters albums, and led to two tours: a rocking arena tour and an acoustic theater tour, which yielded the band's first live album, Skin and Bones. The album featured a song that Dave wrote while in Nirvana, "Friend of a Friend," and during the tour Dave started playing "Marigold," the Cobain-less Nirvana tune that he wrote and sang.

In 2006, Dave returned to rocking and comedy by reprising his role as Satan (first played in Tenacious D's "Tribute" video).  This time he played the role in the D's film, The Pick Of Destiny, also adding satanic vocals to "Beezleboss (The Final Showdown)."  The next year saw another great Foo Fighters album, Echoes, Silence, Patience and Grace. Since then, they've released a very Petty-esque song "Wheels," for their Greatest Hits album, and of course now Dave is spending time with his new band, Them Crooked Vultures, featuring Josh Homme and John Paul Jones. I haven't even gotten into the Foo Fighters jams with John Paul Jones and Jimmy Page,  or the fact that Dave has also jammed with Paul McCartney.

The guy really has the best of all worlds: he can play loud rock and also acoustic, he's got a great band but can play in other bands and guest on other people's albums.  He can jam with McCartney and King Diamond. He's got the rock star lifestyle and remains a cool guy (and a family man at that). I imagine he'll be on the road for much of 2010 with Them Crooked Vultures, and after that, who knows.

TOMORROW ON OUTQ: NIRVANA, FOO FIGHTERS, THEM CROOKED VULUTRES

For those of you who are new to No Expiration, if you enjoy reading my musings on music and you have a satellite radio, you can hear me Wednesday mornings on SIRIUSXM's OutQ Channel. I am a guest of The Morning Jolt with Larry Flick at about 9 am ET every Wednesday. (You can actually get a free online trial and listen on your computer at www.sirius.com/freetrial). This week, I am talking about albums by Nirvana, Foo Fighters and Them Crooked Vultures. Someone commented to me that the common denomonator is Dave Grohl, which is both true and false.

There are two new Nirvana releases out now: the first is the 20th anniversary edition of Nirvana's debut album, 1989's Bleach. Dave Grohl hadn't yet joined the band. Chad Channing was the drummer on that album. Supposedly, it cost $600 to make the album, and there are no outtakes, because they couldn't afford extra tape, so if they didn't like a take, they taped over it. So why get this reissue? Because it includes a live set from the era on the CD and on a bonus DVD. Channing plays drums on that gig -it is early Nirvana, really, really raw.


Then, there's Live At Reading, recorded on August 30, 1992. They were one of the biggest bands in the world at that moment, and Kurt Cobain was getting really sick of it. One complaint I've read about the CD is that it cuts the in-between song banter, which gives it a bit of context, there's a lot of Kurt's whining. On the CD, they cut that, so you hear a powerful set of awesome songs performed with fury (and some boredom). But some people think it's misleading I guess.

It's weird (or maybe not) that both Nirvana albums came out on the same day last week (they are on different labels, SubPop owns Bleach while Universal put out Reading), and on the same day, a Foo Fighters Greatest Hits album came out. When Nirvana first broke up, I remember Dave played drums for a "supergroup" on the Backbeat soundtrack (a film about the Beatles' early days as a club band). It was Grohl, Mike Mills of R.E.M., Don Flemming of Gumball, Dave Pierner of Soul Asylum and Greg Dulli of The Afghan Whigs. They covered all the same old songs that The Beatles covered. I remember seeing them perform on the MTV Movie Awards, and wondering when Grohl would get to play big crowds again! Around that time, drummer Stan Lynch quit The Heartbreakers, and Tom Petty invited Dave to join the band. He didn't, but he did play for them on one episode of Saturday Night Live. I remember hearing Kris Novoselic telling Eddie Vedder about Dave's new project on an episode of Pearl Jam's "Monkey Wrench Radio," and he played a few songs from the demo, which sounded really cool. A few months later, the Foo Fighters opened for Mike Watt (Dave also played drums for Watt) but no one really had heard of them! It was pretty great though. By all accounts, Dave is a cool guy, and I'm glad he's done so well. I saw the Foo Fighters headline an arena last summer, and it was a good show.

Finally, Them Crooked Vultures. I've written about them a bit already. It's Dave Grohl on drums (and I think some vocals), Josh Homme of Queens Of The Stone Age and Eagles Of Death Metal on guitar and vocals and John Paul Jones of Led Zeppelin on bass and keyboards. Their album comes out next week, but they're letting you listen to it on their YouTube page. I've got to say, it sounds pretty awesome.

THEM CROOKED VULTURES LAND NOVEMBER 17

Them Crooked Vultures - the band featuring John Paul Jones of Led Zeppelin on bass and keyboards, Dave Grohl of The Foo Fighters on drums and Josh Homme of Queens Of The Stones Age and The Eagles Of Death Metal on guitar and vocals - will release their self-titled debut on November 17. I can't wait to hear it. A friend of mine recently went to see them at Roseland in NYC, where they played all new music that no one had heard yet, and supposedly it was awesome.

Speaking of The Foo Fighters, I heard their new single "Wheels," from their upcoming greatest hits album, and it is very Petty-like. I like it a lot.

ANOTHER GLIMPSE OF THEM CROOKED VULTURES

I can't wait to hear their album, and see them in concert.

SO WHAT DO THEM CROOKED VULTURES SOUND LIKE?

Them Crooked Vultures is, as I've mentioned, John Paul Jones, Dave Grohl and Josh Homme. They have a website, and here's 15 seconds of what they sound like. I'm sold already.

DAVE GROHL + JOSH HOMME + JOHN PAUL JONES = THEM CROOKED VULTURES

The Dave Grohl/Josh Homme/John Paul Jones band I wrote about will be playing their first gig this weekend according to Billboard. They also have a website. They're called Them Crooked Vultures. Pretty cool!

DAVE GROHL/JOSH HOMME/JOHN PAUL JONES TO FORM NEW BAND

A few years ago, I remember Dave Grohl telling Mojo magazine that he wanted to do another side-project with Josh Homme of Queens Of The Stone Age (and The Eagles Of Death Metal) and John Paul Jones. Both guys guested on The Foo Fighters' 2005 album In Your Honor (not on the same song) and of course Dave is a one-time member of The Queens. Well, Josh's wife, Brody Dalle, formerly of The Distillers and now of Spinerette, kind of spilled the beans about the project to Antiquiet. I can't wait to hear this.

The Foo Fighters are supposed to be on hiatus, but they just played for Barack Obama and lots of U.S. troops at The White House on July 4, and they played a new song, "Wheels," which is going to be on their greatest hits album, which is coming out in November.

JOSH HOMME TO PRODUCE ARCTIC MONKEYS?

The NME is reporting that Josh Homme of Queens Of
The Stone Age will be producing some sessions for Arctic Monkeys. Arctic Monkeys are one of the newer bands that I've gotten into (I loved their song "Brianstorm" from last year), and I think Josh Homme would be a great producer. I look forward to hearing this.