Top 25 Albums 1977-2007

I recently listened to a large sampling of the albums on the well-known Rolling Stone’s 500 Greatest Albums of All Time list. When it was first published, a vocal minority of critics, particularly those too young to have lived though the release of the material on the list (the vast majority of it was from the 60s and 70s), claimed that it did not adequately capture the truly influential music from the broad spectrum of popular music.

These are my criteria. First, the album was issued between 1977 and 2007. The beginning year is point of reference for my listening experience; everything prior to this was B.P. (before punk). While I enjoy listening to some of the groundbreaking music such as those featured on the Rolling Stone list, without the personal connection to them that comes from coming of age in those times, to me they will forever languish as museum exhibits. The 2007 endpoint is both to make it an even thirty years and also to get some distance from new releases.

Second, the album is in its original form as intended by the artist. No Best Of’s, no posthumous compilations of EPs, etc.

Third, I informally weighted the prospects by their popularity on previous lists. If an album is a regular on these lists, it had to be twice as good to make it on mine as a less-known album.

Fourth, I tried my best to avoid repeat artists. The only exceptions were albums that I simply could not fairly leave off the list.

So without further explanation, here it is:

25) Audioslave – Audioslave (2002). Shortly after the breakup of Rage Against the Machine, former Soundgarden singer Chris Cornell and the guitarist, bassist, and drummer from Rage formed what seemed like a side project, Audioslave. However, their debut album held the same explosive intensity that made Rage popular, along with intelligent lyrics and vocals by Cornell.

24) Bob Marley & The Wailers – Exodus (1977) This massively popular album made reggae a household name. It truly is the ultimate desert island record, because what better music to play on a desert island than reggae.

23) AFI – The Art of Drowning (2000). Before AFI became a darling goth rock band on a major label, they were another bunch of East Bay punks. Their final album on their original label, The Art of Drowning is a tightly produced showcase of the band’s brooding, introspective lyrics, and punishing sound. Rarely has such intensity been so well documented.

22) Fugazi – The Argument (2001). Indie gods Fugazi have always made groundbreaking music that defies genre conventions. They released The Argument as their last album before going on indefinite hiatus. It is by far their most coherent and accessible work and if it turns out to be their final release, it was a fitting swan song.

21) Bad Religion – Suffer (1988). Southern California punk bad Bad Religion crafted a masterpiece with their trademark hyper-literate lyrics and 80s hardcore sound. In later years, they never advanced beyond the formula they perfected on Suffer, and who could blame them. It has few equals.

20) Operation Ivy – Energy (1989) Like Minor Threat before them, East Bay ska punk legends Operation Ivy produced a scene-rattling new sound that led to too much success too fast for four young men. The band broke up after only two years, almost coincidental with the release of their debut LP, Energy. But their influence is still felt in contemporary punk. Their groundbreaking style fused ska, 80s minimalist hardocre, and a positive attitude sorely lacking in the scene, and the country, at the time. Two of the members went on to form the hugely successful pop punk band Rancid, but they could never match the energy capture on Energy.

19) Frou Frou – Details (2003). Early in her career, Imogen Heap was a relatively unknown British singer-songwriter in the vein of Alanis Morissette. Her breathy voice was a standout on her inconsistent debut, i Megaphone (a clever anagram of her name). In 2001, she teamed up with writer and producer Guy Sigsworth to create an unique electronic pop album featuring her signature octave-leaping vocal style on top of lush soundscapes. The album was not a commercial success, but the inclusion of one of its tracks in Garden State made Frou Frou famous. Mishandling of the album by the record company had soured the chances of another album. Heap released a second solo album in 2005 and a third in 2009 but both fell far short of Details. Here’s hoping for a reunion.

18) Stiff Little Fingers – Inflammable Material (1979). This blistering debut album by Belfast punk rockers smartly walked a fine line by making an overtly political album that didn’t get dragged down by its message. True to punk’s early days, it wasn’t afraid to experiment, such as the finale “Closed Groove.” Unfortunately, they could not stay together and broke up in 1982.

17) Idlewild – 100 Broken Windows (2000). Idlewild began as a indie band from Edinburgh. Their debut, Hope is Important, showed a large punk influence. However, their follow up was a true pop gem that combined their ear for catchy hooks with Roddy Woomble’s distinctive voice.

16) Tool – Lateralus (2001). Early in their career, L.A. headbangers, Tool, hinted that they were smarter than their own genre. Their 79-minute magnum opus, Lateralus, proved this without a doubt. Full of challenging time signatures and lengthy running times, the album was the antithesis of its radio-friendly peers. Like a dark symphony, the theme builds to its peak in the masterful three song cycle Disposition / Reflection / Triad.

15) Bouncing Souls – How I Spent My Summer Vacation (2001). Jersey punk rockers The Bouncing Souls paid their dues for years before achieving success. As chronicled in the entertaining documentary Do You Remember? the band faced a tough choice in having to kick out their best friend and drummer Shal. The band considered calling it quits but instead found a new drummer and learned how to be a band again and have fun. The result of this creative energy is their best album to date, featuring the band’s trademark anthemic singalongs with lyrics from the heart.

14) Minor Threat – Minor Threat (1981). Clocking in at just 9 minutes and 20 seconds, DC straight edge punks Minor Threat’s debut EP exploded onto the early 80s punk scene and cast an immense shadow over the next decade of underground music. Espousing a lifestyle of no alcohol and drugs with a conviction that could only come from nineteen year olds, Ian Mackaye and company changed music and youth culture forever and left a lasting manifesto.

13) Rage Against the Machine – The Battle of Los Angeles (1999). Revolutionary rap-rockers RATM developed a loyal fan base of disillusioned youth starting with their inspired debut album in 1992 featuring as its cover the Pulitzer-prize winning photo of a monk setting himself on fire to protest the Vietnam War. But it wasn’t until 1999’s Battle of Los Angeles that Rage truly demonstrated the brilliance of their thought-provoking lyrics and inventive style led by the mind-bending guitar arrangements of Tom Morello. Producing numerous radio hits and cementing their reputation, it was fitting this was their last proper release before disbanding only a year later.

12) Dinosaur Jr. – You’re Living All Over Me (1987). Tremendously influential to the later grunge era, Dinosaur Jr. juxtaposed a heavy, distorted guitar sound with accessible melodies and soft-edged vocals. Never achieving mainstream success, this remains their strongest release.

11) Le Tigre – Le Tigre (1999). Riot Grrl pioneer Kathleen Hannah of the groundbreaking Northwest punk band Bikini Kill teamed up with friends to create a vehicle for feminist performance art and music. The group recorded their brilliant self-titled debut in 1999, which featured lo-fi electropunk and quirky humorous lyrics.

10) Yeah Yeah Yeahs – Fever to Tell (2003). Consisting only of guitar and drums behind the screechy vocals of Karen O, the band made the old new again with their catchy garage rock style. Two tracks in particular, Maps and Y Control, showed there was a lot of depth behind the seemingly spare formula and they remain artists to watch even as their sound has matured on subsequent releases.

9) Weezer – Weezer (1994). There is not a wasted second on this wonderfully catchy debut from Southern California nerd rockers, Weezer, led by Rivers Cuomo. It was tempting to eliminate this from the list because of their inability to know when to quit (and subsequent release of two self-titled albums) but it’s both impossible to dislike this album and to discuss 90s music without referincing it in some way.

8) Shakira – ¿Dondé Están Los Ladrones? (1998). Forget the airbrushed blond on 2001’s international megahit Laundry Service; Shakira’s second album cover features the singer/songwriter with her natural hair color and her hands covered in dirt. Building on the strengths of her reserved debut album, Shakira wrote an accessible pop album that touches on the personal and the political, belted out in her distinctive bleating voice. Diverse influences including Western rock music, her Lebanese heritage, as well as immersion in the cheerful pop of Latin America, combine in this ambitious work that stretches predictable boundaries. There’s a reason it still remains one of the top Spanish-language sellers in the U.S. In any language, Shakira rocks.

7) Pixies – Doolittle (1989). Like Dinosaur Jr., Pixies were tremendously influential over the movement that would eventually be called alternative rock and grunge. Widely regarded as the band’s most consistent and accessible album, Doolittle becomes only more relevant as it ages. In 2009, for the 20th anniversary of its release, the Pixies went on a limited tour where they performed the album in its entirety.

6) Catch 22 – Keasbey Nights (1998) Suburban Jersey ska punks Catch 22 parleyed their demo Rules of the Game into a brilliant full length album that many consider the pinnacle of the genre.

5) Radiohead – OK Computer (1997). Following the success of the straight ahead rock formula on The Bends, Radiohead showed a glimmer of the experimentation to come on the accessible and much-praised OK Computer. Repeat listenings to most of the songs is a necessity, since Radiohead pack about as much into each song as other artists, if their lucky, manage to fit into entire albums.

4) Smashing Pumpkins – Gish (1991). Before the runaway success, the breakups, the reformations, and all the other baggage that hounded the band, the Smashing Pumpkins were four unknown alternative rockers recording four-track demos in 1989. Their debut album was a minor hit and hinted at brilliance yet to come. It combined the indie influence of grunge with the production and expanse of stadium rock, a formula Corgan would perfect on the band’s follow-up. Oveshadowed by later albums, Gish remains an unpretentious powerhouse that remains some of the band’s best, and certainly most honest, work.

3) Radiohead – Kid A (2000) A critic once remarked that it’s hard to believe Kid A is from the same band that released OK Computer, let alone from the same planet. Rejecting the mega stardom and all the expectations of another hit following OK Computer, Radiohead reinvented themselves as soundscape sculptors with one of the most interesting (and disliked) albums of the era.

2) The Clash – London Calling (1979). This is the magnum opus from The Only Band That Mattered. Although they suffered from inconsistency, especially on their later releases, everything on London Calling is spot on and this double album remains in a league of its own.

1) Smashing Pumpkins – Siamese Dream (1993). Hailed as the next Nirvana, the Smashing Pumpkins had a enormous amount of pressure on them to deliver a hit with their second album. The process nearly destroyed the band with songwriter Billy Corgan suffering from a nervous breakdown and drummer Jimmy Chamberlin struggling with alcoholism. In spite of this, Siamese Dream exploded as a megahit on the early 90s alterna-rock scene.

The album continued to expand their signature style of droning overdubbed guitars that, unlike most of their peers, was influenced far more by shoegaze and 70’s stadium rock than punk. Above all, the tracks are expertly arranged. The album builds intensity during the opening five tracks, then mellows out with the radio hit Disarm. You can almost imagine flipping over the vinyl for Side B when this transition occurs, even though the format was dead by the time the band released any material. This alternating build-up and release of tension is evident both within and between songs, and was one of the things that made (the original) Smashing Pumpkins such a great band, and it is executed flawlessly on Siamese Dream.

Atheist Anthem

Interesting article in the NY Times about atheists forming organizations to replace the social component to traditional church membership, even in places you would not expect it, like South Carolina. Quotes one person saying it’s time for atheists to “come out of the closet.” After seeing Religulous recently, I kinda like that sentiment. I feel like when you don’t bring it up, it’s almost like tacit consent, like if someone makes a racist joke and if you don’t challenge them they think they you must agree. So I should really try harder to make it obvious I stand apart from the herd.

My favorite quote from the article:

“polls continue to show that atheists are ranked lower than any other minority or
religious group when Americans are asked whether they would vote for or approve
of their child marrying a member of that group”

Interesting.

Best Vegetarian Restaurants in Pittsburgh

I grew up in Pittsburgh and moved back after undergrad to attend the University of Pittsburgh to get my MSIS. I lived in Shadyside (the wikipedia entry for Shadyside features the house where my apartment was located) and Highland Park.

I was there for three years before I moved to San Francisco. In that time, I was able to discover a lot of really good vegetarian food in a town that might at first not seem to offer much. I created a google map with my favorite vegetarian restaurants and for convenience I also reprinted the individual comments here:

China Palace II
They have a phenomenal vegetarian menu that was carried over from the old Hunan Kitchen / Zen Garden in Squirrel Hill. Get the vegetarian shu mai dumplings and some tofu with XO sauce.

Pho Minh
My absolute favorite restaurant in Pittsburgh. Oh how I miss it dearly. Get the fresh rolls with tofu (was #3 when I last went). They have a different sauce than the usual peanut sauce. I lived off of these for two years. My favorite main dishes are lemongrass tofu with bun instead of rice and the rice noodle and tofu.

Taste of India
Some of the best Indian in Pittsburgh and a good vegetarian section as all Indian does.

Zenith Antiques
One of the few all-vegetarian places in Pittsburgh. Try out the Sunday brunch sometime. It gets crowded so you may have to share a table and the food is mostly just okay but they have tons of desserts and it’s definitely worth going on a gloomy Sunday to lift your spirits. If you go during non-brunch, try the vegan Tofishy sandwich, a fan favorite.

Udipi Cafe
All vegetarian South Indian restaurant. Great food, killer weekday lunch deal. I used to work out in the burbs near this place and would look forward all week to getting their lunch deal, which was around $7 total for entree, rice, and bread. Fantastic. Worth the trip out from the city on a Saturday afternoon.

The Quiet Storm
Another all vegetarian place, reminds me of Zenith in that both serve mediocre food at not-that-cheap prices and, like Zenith, it’s all made in advance by the one chef and then reheated in the microwave by the indie kids who work the rest of the time. Worth trying out. I went there for brunch and thought the food wasn’t so great, especially since it was pricey for a bike punk kinda place.

Thai Cuisine Restaurant
One of my favorite restaurants in the burgh. They have an extensive separate vegetarian menu. My faves were the Vegetarian Tom Kha soup, the Tofu Sate (yummy sauces for it), and the spicy basil fried rice. They have a full meat menu too which I’ve heard good things about so you can bring meat eaters too.

Spice Island Tea House
Far and away the best lunch spot in town. I dearly miss working in Oakland because of this gem. It’s a Southeast Asian fusion restaurant. Get the mini-samosas (they brush egg on them, as the kind servers will warn you) and the Singapore Rice Noodle made vegan with tofu. The other awesome dish is the tofu lunch special with Indonesian festival fried rice that is phenomenal (your choice of two different topping flavors but they are very similar). Most of the other dishes are very tasty as well, and they are all a pretty good deal.

Lu Lu Noodles
Pretty good lunch spot in Oakland. Most of the dishes they can prepare vegetarian or vegan. Get a bubble tea while you’re there.

Reel Big Fish and Streetlight Manifesto (Live Review)

House of Blues Cleveland
Saturday, 8 July 2006

With the closure of Club Laga and the last gasping breath of a decent music scene in Pittsburgh, I was forced to make the drive over the border to see Reel Big Fish and Streetlight Manifesto play in Cleveland.

Despite a poorly designed venue with a tiny mosh area sunk below the rest of the floor and in front of the completely misplaced and oversized sound booth, the show was certainly worth the hefty ticket price ($25) and 2.5 hour drive.

Streetlight Manifesto
Streetlight commited a musical faux pas by opening with a new song and leaving the audience a little confused. They then redeemed themselves by playing a tight set including the now-combined Point-Counterpoint + Keasbey Nights supersong and Everything Went Numb. Their set felt way too short, pretty much the same length as the other two openers, the mediocre Transition and enthusiastic Whole Wheat Bread. The lineup was also completely different, with only Tom recognizable. Apparently Catch 22 vet Josh Ansley left the band. I don’t know why he would but he will be missed. Whoever took his place did a good job, though. The lineup is different even than last time I saw them, which is never a good sign for stability or longevity. I have my fingers crossed.

It was great to see Streetlight live, especially since this will be their last tour for quite awhile since they are soon going to be writing and recording a sophomore album, but the set was simply too brief. It was probably not the band’s fault but the fans were a little disappointed. If they were going to play such a short set, they should not have played two new songs or the full combined A Moment of Silence + Violence. In any case, we were all left wanting a lot more but we’ll have to wait until probably 2007 to get it.

RBF
Reel Big Fish are always excellent live. They have a huge catalog of great songs and they always play one you forgot about. This night was no exception, with Aaron pulling out ‘Nothin’ towards the end of the set, which really made the crowd go nuts. Highlights of their great set included six versions of S.R. (including the usual death metal, hillbilly, Southern blues rock, emo) including one I’ve never heard before, in the style of the Strokes, perfectly executed with Scott even singing through a harmonica for that patented vocal sound. As usual, Scott and Aaron’s comedic back-and-forth provides a nice filler between songs.

They played one new song from their live album (which apparently is not just old material) that sounded good but it’s hard to tell from one live listen. I’m definitely going to pickup the album though, which is a triple disc mega-release on presale now on their website.

Unlike Streetlight, RBF has been around the block and had a great set sequencing. They opened and closed with two covers, starting with Aha’s Take on Me, and finishing with Op Ivy’s Unity. I couldn’t imagine a better end.

If either band comes your way, see them.

Middle Distance Runner – Plane in Flames (Review)

This is the debut album from a new band to the Washington, D.C. / Northern Virginia indie scene who formed last year. I saw them recently at Gooski’s in Pittsburgh, where they put on an energetic performance.

The man on the mic, Steve Kilroy, has a singing voice that is comfortable accompanying subtle melodies or the swaggering Rawk of ‘Man of the People.’ The rest of the five-piece band serves up an excellent sound.

Stand out tracks are ‘Naturally,’ the catchy opener; ‘Top of the Stairs;’ and the well-chosen closeout ‘That’s a Lie.’ Their guitars really shine on the sweeping ‘Hooks’ and ‘Out of Here,’ both of which certainly bring to mind OK Computer-era Radiohead influence.

I’m not a huge indie fan so I can’t do any more name dropping but for a debut album from a new band, Plane in Flames shows not just promise but a fair amount of realization.

Retail Price: $10

My Rating: $15

If you live in NoVA you can pick this up at CD Cellar. I know of one on Rt 7 in the City of Falls Church and there’s one in Arlington as well. You can also buy it online at http://www.cdbaby.com/cd/mdrunner. I suggest you do and definitely keep an eye on this band.

http://www.middledistancerunner.com/

Keasbey Nights as Performed by Streetlight Manifesto

Release Date: March 7, 2006 – Victory Records

This re-recording of Keasbey Nights (aka Keasbey Nights Volume 2, as Amazon called it) had been a persistent rumor since Streetlight Manifesto first formed in 2002. However, after several mysterious annoucements on their website and finally a press release by their label, it became clear that it would be a dream come true for ska punk fans everywhere.

As their simple liner notes make clear, this is a re-recording of the original Keasbey. There are no new songs or bonus features. There are differences, of course. Lyrically there are a few minor line changes here and there that will make fans of the original album smile and nod in appreciation. To the casual listener, the songs have the same lyrics. Musically, most of the solos were stripped out and replaced with new and I would argue more mature and enjoyable arrangements. In terms of production, the recording is 100% cleaner. The bass is much more prominent and the lyrics are more intelligible, thanks both to Tomas learning how to sing fast but understandably since the first recording and no doubt some smart post polishing. Several of the other changes I have noticed (there are surely more):

  • Riding the Fourth wave has a slower tempo at the beginning and since it is an instrumental, has the most musical changes
  • Day In, Day Out (my top choice from the original album and one of my all-time top 10 songs) has an extra verse that includes the lines “And everybody’s talking about humility,(see)/indecency, (see)/smoke, and mirrors to me.”
  • “Dear Sergio” has the lyrics and extra verse like the version recorded by BOTAR

Instead of the band’s thank-you’s, the end concluding track, “1234 1234” now has an obscured synthesized voice (think “Fitter Happier” amid loud music) explaining why the album was made. I have yet to locate a transcript of this online, probably because no one can hear all of the parts. The gist I can gather from several listenings is that the current Catch 22 band was going to re-release Keasbey sonically unchanged to make some easy dough. Tomas, as the computer voice says, offered to re-record it with them but they declined and so he went ahead and made this album, so fans would not be suckered into buying the same old album with a new cover. The computer voice also expresses regrets that due to budget reasons, they never got the first Keasbey to sound as nice as they wanted. As mentioned, that rawness turned into a strength, but it is obvious nonetheless.

Honestly, even if, as some pro-new-Catch22-losers have said, Streetlight made this for financial reasons, who can blame them? After they were robbed on their last European tour, they basically lost everything they had and went into deep debt.

When I first listened to this, I liked it but thought it just wasn’t the same, wasn’t the original. I had listened to the original so many times I knew every beat, every pause, and I didn’t like the changes. However, thirty or so listens later, I find myself choosing it over the original. My guess is because it’s new. I think in a few years when I have memorized this version to the same level as the original, I will probably prefer the original, albeit by a narrow margin.

Purists may always prefer the original, but at least they can admit this is a successful re-recording that doesn’t ruin it. It’s different, not worse. I definitely recommend this album to any Catch 22 or Streetlight fans as well as any young ska punks who have yet to hear of any of this great material.

Retail Price: $11 (Interpunk)

My Rating: $20

Priceless for Catch 22 fans and if you just returned from a 10 year expedition to Antarctica and don’t own the original then dare I blasphemously say it, maybe buy this first.

Concert Review – Streetlight Manifesto

16 June 2005 @ Mr. Smalls (Pittsburgh, PA)

There seems to be a lack of press about Streetlight Manifesto which is a shame. On the net all I read is the same two paragraphs that their record label wrote to describe their sound and the story behind them, an oh-so-clever bit you can read here. Because of this lack of info, I decided to post my impressions of them as well as a review of their recent show at Mr. Small’s Funhouse in my wonderful hometown of Pittsburgh.

Kids in the know recognize the name Tomas Kalnoky as the nasal-voiced genius behind Catch 22’s Keasbey Nights, a ska-punk masterpiece that I still consider the pinnacle of the form and an album that has the distinction of being on my all-time Top 10. After Keasbey‘s success made Catch 22 way too big to fit into the Garden State’s infamous ska scene, the stresses of touring became too much for Kalnoky, who wanted a real life, to do human stuff, and to go to art and design school like a regular kid. So he passed the mic to a replacement, and Catch 22 toured off the success of his songs for the next few years, releasing a dismal follow-up to Keasbey that I won’t even endorse by naming and maybe a third album but it doesn’t matter. They only are still around because of the Keasbey songs. I saw the post-Kalnoky band twice, both with different lineups. Basically they are a cover band. Their new songs are only average, but competent mediocrity goes a long way in the punk scene so they are probably recording another album as I type. Whatever.

This show was part of Streetlight’s “last tour for awhile,” where they wanted to make sure everyone who was so inclined got a chance to see them before they went into reclusion to record a follow-up disc.

As I have read about and witnessed, Kalnoky usually dismisses requests for (his) Catch 22 songs with a bit of humor (“Catch 22? Is that a book?”) that likely conceals some serious bitterness (one line on the album: “If you hate me so much then stop singing my songs”). However, this time, he not only indulged in some recognition from his Catch 22 glory, he even incorporated it into the set. During Point/Counterpoint the band jumped into the middle of Keasbey Nights, which was not only fitting because the songs are near sequels of each other but also pretty damn cool to see. And he did this not once, but twice, inserting 9mm and a Three Piece Suit into the middle Everything Goes Numb. Those two moments were worth the price of admission.

The band played most of their only album, including “We Are the Few,” my personal favorite. The crowd was basically all fans as the opening bands were unknowns in Pittsburgh so overall it was a very enjoyable experience. The album, which, as expected, features a mature Kalnoky crafting some excellent arrangements, borrowing from influences as diverse as Eastern European folk music. As I noted, it is chock full of references to Keasbey Nights and any Catch 22 fan will likely love it, as will anyone looking for a break from the derivative slop that makes up most new music in general, and punk especially.

Streetlight Manifesto Live Review

16 June 2005 @ Mr. Smalls (Pittsburgh, PA)

There seems to be a lack of press about Streetlight Manifesto which is a shame. On the net all I read is the same two paragraphs that the record label wrote to describe their sound and the story behind them, an oh-so-clever bit you can read here. Because of this lack of info, I decided to post my impressions of them as well as a review of their recent show at Mr. Small’s Funhouse in my wonderful hometown of Pittsburgh.

Kids in the know recognize the name Tomas Kalnoky as the nasal-voiced genius behind Catch 22’s Keasbey Nights, a ska-punk masterpiece that I still consider the pinnacle of the form and has the distinction of being on my all-time Top 10 Albums list. After Keasbey‘s success made Catch 22 way too big to fit into the Garden State’s infamous ska scene, the stresses of touring became too much for Kalnoky, who wanted a real life, to do human stuff, and to go to art and design school like a regular kid. So he passed the mic to a replacement, and Catch 22 toured off the success of his songs for the next few years, releasing a dismal follow-up to Keasbey that I won’t even endorse by naming and maybe a third album but it doesn’t matter. They only are still around because of the Keasbey songs. I saw the post-Kalnoky band twice, both with different lineups. Basically they are a cover band. Their new songs are only average, but competent mediocrity goes a long way in the punk scene so they are probably recording another album as I type. Whatever.

This show was part of Streetlight’s “last tour for awhile,” where they wanted to make sure everyone who was so inclined got a chance to see them before they went into reclusion to record a follow-up disc.

As I have read about and witnessed, Kalnoky usually dismisses requests for (his) Catch 22 songs with a bit of humor (“Catch 22? Is that a book?”) that likely conceals some serious bitterness (one line on the album: “If you hate me so much then stop singing my songs”). However, this time, he not only indulged in some recognition from his Catch 22 glory, he even incorporated it into the set. During Point/Counterpoint the band jumped into the middle of Keasbey Nights, which was not only fitting because the songs are near sequels of each other but also pretty damn cool to see. And he did this not once, but twice, inserting 9mm and a Three Piece Suit into the middle Everything Goes Numb. Those two moments were worth the price of admission.

The band played most of their only album, including “We Are the Few,” my personal favorite. The crowd was basically all fans as the opening bands were unknowns in Pittsburgh so overall it was a very enjoyable experience. The album, which, as expected, features a mature Kalnoky crafting some excellent arrangements, borrowing from influences as diverse as Eastern European folk music. As I noted, it is chock full of references to Keasbey Nights and any Catch 22 fan will likely love it, as will anyone looking for a break from the derivative slop that makes up most new music in general, and punk especially.

Band site: http://www.streetlightmanifesto.com/

Mad Cows, Mad Republicans

Republican shame. The lesson: those who will do whatever it takes to win will, over time, come to dominate — unless they are weeded out by a critical, angry population. So much for the U.S.

And, in an unrelated story: as I’ve told Baby Bobby many times, there is no such thing as Mad Tofu. As for the rest of you, beware.