TIE FOR #11: BIG BOI, LAMONTAGNE, MUMFORD & SONS, SHERYL CROW, RECKLESS KELLY, GASLIGHT ANTHEM AND CASH

In late December, I posted my top ten albums of 2010; the list was topped by The Drive-By Truckers' The Big To-Do. Immediately afterwards, I started thinking about some other albums that I really enjoyed this year, so I started a brief series called "Tied for #11." I've done a bunch of posts, starting with one about Buddy Guy's Living Proof.  Here is another handful of albums that I enjoyed a lot.

Outkast's Big Boi finally released his debut this year: Sir Lucious Left Foot...The Son Of Chico Dusty.  It's too bad that it didn't get the attention that it deserved. Both by the press and even by Def Jam, who helped Boi to get the album from Jive (the label that OutKast record for).  "Shutterbug" is one of the hottest singles of the year. I think that, like Black Thought of The Roots, Big Boi is one of the best MCs in hip-hop, but doesn't get the attention of, say, Lil Wayne or T.I.

Ray LaMontagne's God Willing and The Creek Don't Rise is a really great album. It's a gorgeous album, but because Ray doesn't really do much promotion, you don't hear much about it. I think it will benefit from being nominated for a few Grammys (including "Beg Steal or Borrow" which is up for Song Of The Year). Hopefully he will perform at the ceremony.

Mumford & Sons was probably my favorite new discovery of 2010. Their Sigh No More album reminded me of Springsteens' Seeger Sessions Band, and I mean that as a high compliment. The fact that a band so removed from any recent trend, either in the mainstream pop world or the "indie rock" world has become so popular is, frankly, amazing to me and it gives me hope. I haven't seen them live, but I have filmed a studio performance by the band (see it here) and I really dug it.

I've often felt that Sheryl Crow doesn't get the credit she deserves, and that's never been more true than on her current album, 100 Miles From Memphis. I guess in a way, I can understand people paying a bit less attention to her - her last two albums weren't as strong as her first few. But this album is a great comeback, and should have done really well. But if you liked her earlier music, I urge you to check this one out.

Like The Drive-By Truckers, Reckless Kelly is a band who I discovered thanks to the SiriusXM channel Outlaw Country. (And this is where I offer the full disclosure that I work for SiriusXM, but I was a SIRIUS subscriber before I worked there.) Somewhere In Time is an album of songs by someone named Pinto Beckett. Without knowing much about him, or the band, I really dug it. I have to make it a point to get more music by both of them in the '11.

New Jersey's own Gaslight Anthem got a decent amount of press for their album American Slang, and deservedly so. They're a really good band, and they have the double edged approval of Bruce Springsteen (good because of the obvious extra exposure, bad because you can't do interviews without talking about him). They come from the punk rock underground, but they sound is really accessible. Hopefully people won't be scared of them because of their appearance. I'd love to see them get huge. In 2010 they headlined Radio City Music Hall, so maybe they're on their way.

One last album I'll mention is Johnny Cash's final recordings: American VI: Ain't No Grave. It sounds like he is aware that this is "it" for him, and it adds a poignancy to the songs . I have always been a big fan of the American Recordings series, I think Rick Rubin did a great job on all of them, this one included.

TODAY ON OUTQ: ROCK, FROM PUNK TO INDIE

For those of you who are new to No Expiration, every Wednesday morning at 9 am (ish), I go on the SIRIUS XM Channel OutQ, on The Morning Jolt with Larry Flick and talk about music. Normally, I write about what I'll be talking about the night before: however, last night I was rocked by The Dead Weather who played Prospect Park in Brooklyn.  Review coming soon!  Anyway, today, I'll be talking about a number of different rock bands.  One of the most anticipated albums of the year, Gaslight Anthem's very important third album, American Slang - they've recently gone from playing clubs to larger halls (they are playing Radio City Music Hall in the fall). Another of the most anticipated albums of the year, Arcade Fire's very important third album, The Suburbs, has the indie fans going crazy.  I'm not going crazy for it, but they are one of the only bands that the indie set has hyped in the past few years that I like - and unlike most of those bands, Arcade Fire will have a career (they are playing two nights at Madison Square Garden later this year!!). Trent Reznor's new post-Nine Inch Nails project is How To Destroy Angels, and they just released their debut EP.  I like it, but it sounds a bit like NIN with a different singer.

I'm also talking about the recent album by punk rockers Against Me!, new music by The Smashing Pumpkins (which is basically Billy Corgan and whoever he hires), and one of my least favorite '90s bands, Stone Temple Pilots.

TONIGHT ON THE CATHOLIC CHANNEL: WE DISCUSS NEIL PEART

Tonight I’ll be on SIRIUS XM’s Busted Halo show on The Catholic Channel, talking about the lyrics of Neil Peart – the legendary drummer of Rush. Peart is an atheist, so he might be alarmed, but it's OK: Busted Halo's "Faith and Culture Thursdays" is about finding meaning in "non-religious" music.

It’s a bit unusual for a drummer to write lyrics (when the drummer isn’t the singer), but Rush is an unusual band. Neil Peart wasn’t in the original lineup – Geddy Lee on bass and vocals, Alex Lifeson on guitar and the late John Rutsey on drums – Peart joined for their second album, 1975’s Fly By Night, and they haven’t had a lineup change ever since. On the first album, Geddy and Alex wrote the lyrics, but they really weren’t into it. Since Neil was always reading books, they figured he might be a good writer, and he became the band’s lyricist.
The first song on Fly By Night was “Anthem,” named after the Ayn Rand novella of the same name… it was about a totalitarian future where the word "I" is no longer part of the language. It includes the lyrics go "live for yourself, there's no one else worth living for, begging hands and bleeding hearts will only cry out for more." That kind of thing didn't really fit in in the hippie era, or even the post-hippie era.

I think Peart's thing personally was to always be an individual (and not follow a large collective) and politically, he was very pro-small government. but Rush's lyrics were interpreted by their many detractors as being "fascist," which is ironic... as Geddy Lee's parents were both concentration camp survivors.
In 1976, Rush released their fourth album, 2112. The title track was 20 minutes long with seven different movements and took up all of side 1. It was about a totalitarian society where a forced equality was imposed on everyone - the title character was happy with that, until he finds a guitar, and wants to express himself through that, which, as it turns out, is not allowed. He rebels against them, but it's futile. On side 2, there’s a song called "Something For Nothing" is filled with lines that could be Tea Party bumper stickers in 2010: "you don't get something for nothing, you don't get freedom for free." On the original album, Neil Peart dedicated the album to "the genius of Ayn Rand." One of the big points of Ayn Rand was that she was very much about the individual, and wasn't very altruistic.

Fast forward to Rush's most recent studio album, 2007's Snakes & Arrows, inspired by Neil's traveling around North America on his motorcycle. He didn’t like the control that organized religion seemed to have, especially in the U.S. Songs like "The Larger Bowl" and “Far Cry” are sort of an about face from his earlier lyrics. Ayn Rand probably wouldn't have been concerned with the people who Neil write about in “The Larger Bowl”: "The golden one or scarred from birth, some things can never be changed, such a lot of pain on this earth, it's somehow so badly arranged. Some things can never be changed, some reasons will never become clear, it's somehow so badly arranged, if we're so much the same like I always hear." "Far Cry," laments how "It's a far cry from the world we thought we'd inherit, it's a far cry from the way we thought we'd share it" - the idea of "sharing" is pretty removed from a Randian way of thinking!
A few years earlier, from 2002's Vapor Trails, is "One Little Victory," a song that I think anyone could get with, no matter what side of the political fence they're on - or no matter what they think of Ayn Rand. The song was written in the aftermath of a tragic year in Peart's life: his daughter died, and a few months later, his wife also passed away. I'm always moved by the entire song, but it is heavy and loud and powerful. While Neil was going through what he was going through, so many of us were still recovering from 9/11. But I think the song will always be an inspiration to anyone in the aftermath of a tragedy, no matter what side of the aisle they’re on.

GASLIGHT ANTHEM VIDEOS: PEARL JAM COVER, ACOUSTIC ORIGINAL

This week, The Gaslight Anthem released their new album, American Slang. It seems like this is their moment.  I read that they recently sold out a gig at New York's Irving Plaza, and thier next NYC date will be headlining Radio City Music Hall. Frontman Brian Fallon also appears on a track on Bruce Springsteen's upcoming live DVD, London Calling. The band is actually from New Jersey, and have gotten the Bruce comparassions a lot, which is tough to live with, but at least it means that people have a high opinion of them.  Anyway,  I bought the new album today, so I have to listen to it a bit before I have anything to say.  For now, I'll post thier cover of Pearl Jam's classic "State Of Love And Trust" from Jimmy Fallon's show, and Brian Fallon (no relation) doing a solo acoutic version of the title track from the SIRIUS XM studios.

2010: A BIG YEAR FOR THE WHO

By now, everyone knows that The Who are playing the Super Bowl in January. (When I first wrote about it, it was a rumor, now it has been confirmed.) And they are supposed to be putting out a new album and touring as well. But I just found out that on March 2, there's going to be a big tribute concert to The 'Oo at Carnegie Hall in New York City, featuring Gov't Mule, Living Colour, Frank Black of The Pixies, Bob Mould, The Smithereens, The Gaslight Anthem and... Bobby McFerrin. I wonder if the organizers will go after any of the artists who paid tribute to The Who at The Kennedy Center Honors last year (including Chris Cornell, Joss Stone, Jack Black and Dave Grohl) or the VH1 Rock Honors show which featured Pearl Jam, Foo Fighters, Tenacious D and Flaming Lips.

Anyway, proceeds from the show go to six different charities, which you can learn about at the concert's webpage.

Meanwhile, Roger Daltrey who has been doing a solo tour this year, will be doing at least some dates next year: Eric Clapton said Roger would be opening some shows for him. I heard Roger's shows have been pretty cool. I wonder if he will put out a live album. What I really would love to hear is his version of The Who's "Blue, Red and Grey," which he wasn't originally on (Pete Townshend sang that one, and it is one of The Who's most underrated songs).