Staff Writer

Being a musician, I have great respect for music and consider it a large portion of my life.  I enjoy numerous genres of music, spanning from blues to new wave. I would rather listen to a slick guitar solo then listen to “Party Rock Anthem.” I prefer a lengthy instrumental to a techno song. Lately I have been listening to a smorgasbord of tasty morsels. Here are a few recent personal favorites of mine in no particular order.

1. Steely Dan’s Can’t Buy A Thrill

Steely Dan's Can't Buy A Thrill

Released in 1972, this was the band’s debut album. It is the established the sleek, jazz rock sound that they are often associated with. All the  songs are well crafted pieces written by the duo of pianist/keyboardist Donald Fagen and bassist Walter Becker.

The album has a variety of songs, from an Eastern, sitar filled “Do it Again” to a Latin-Jazz romp “Only A Fool Would Say That.” Probably the most famous track off of this album would have to be the FM radio staple, “Reelin’ In The Years.” To this day, this remains to be one of their most popular tunes. This track contains two guitar solos provided by a great session musician named Elliot Randall. Randall also provided a guitar solo on the track Kings. Despite being the bands most beloved song, both Fagen and Becker claim to dislike the song. Elliot’s solos on “Reelin’ In The Years” garnered praise from many other musicians including Jimmy Page of Led Zeppelin who has stated that it is his favorite guitar solo.

Overall this album, is an excellent jazz-rock album that brings everything to the table and leaves the listener satisfied.

Listen to: “Reelin’ In The Years,” “Only A Fool Would Say That,” “Fire In The Hole“

2. Rush’s 2112

After the commercial failure of Caress of Steel, Rush were experiencing a period of hardship. Caress of Steel was thought to be the trio’s breakthrough album. However it deviated from their previous album Fly by Night and alienated many of their devoted fans.  2112 was produced as a last stand of sorts. The band completed it believing that everyone would hate it, but as it turns out this was the breakthrough album they yearned for.

Rush's 2112

The album itself is dominated by the twenty minute progressive rock track 2112. The track is divided into seven sections or parts. The song tells a story beginning in the year 2112 in which the world is ruled under a totalitarian government called the Solar Federation. The government controls every facet from what people read to the songs they sing. An unnamed character finds a musical instrument of the “elder race” and learns to play it. This act of self expression is eventually put down by the higher powers and then the song draws to a close.

There are five other tracks on the album. Most of the others are just standard Rush, except for  “A Passage To Bangkok” and “Something For Nothing.” The album marries the complexity of progressive rock with the heavy, drive of hard rock into one, direct stream.

Listen to: “2112,” “Something For Nothing”

3. The Black Key’s El Camino

Released in December of 2011, this is a relatively new album. The duo of guitarist/vocalist Dan Auerbach and drummer/percussionist Patrick Carney have been producing albums for the past decade. Their blend of blues and garage rock helps to create their unique sound.

There is a total of eleven tracks on this album. However, this album relies less on blues and puts more emphasis on garage rock. The album also draws influence from genres such as soul, R &B and rockabilly.

The Black Keys El Camino

The one track that is the most memorable would have to be “Lonely Boy.” This was released as a single prior to the release of the album. It is a very catchy tune that resonates in the mind. The single was accompanied by a humorous video of actor/musician Derrick Tuggle dancing and  the lyrics of the song. Another track on the album, “Gold On The Ceiling,” is slated for release on February 27, 2012.

Listen to: “Lonely Boy,” “Nova Baby,” “Gold On The Ceiling”

4. Robert Johnson’s Complete Recordings

Released in 1990, this compilation album released all twenty-nine recordings made by the late blues great, Robert Johnson. The twenty-nine tracks were recorded over a period of a year beginning in 1936 and ending in 1937.

All the tracks have been remastered  from the original recordings. All of the tracks on the album were crucial in movement of the blues and eventually rock and roll. The most notable tracks include “Traveling Riverside Blues,” “Sweet Home Chicago” and the blues standard “Crossroad Blues.” Almost every other blues artist or song has been influenced by Robert Johnson.

Listen to: “Sweet Home Chicago, “Crossroad Blues”, “Dust My Broom”

Robert Johnson's Complete Recordings

Matt Miller

Staff Writer

When the word grunge comes to mind, what do you automatically assume? Some people would think of dirt or gravel. Others think of a sub-genre of rock music from the early- to mid-nineties. There were many acts that personified this genre, such as Soundgarden, Stone Temple Pilots, and Pearl Jam. But the one band that left an indelible mark on this genre, as well as rock music as a whole, has to be Nirvana.

Formed in 1987 in the rainy city of Seattle, WA, Nirvana was a trio consisting of guitarist/vocalist Kurt Cobain, bassisist Krist Novoselic and drummer David Grohl. Their debut album, Bleach, was a moderate success, but was dwarfed in comparison to the 1991 followup release, Nevermind. Nevermind was a massive success and produced several top singles on the mainstream charts.

Considered to be their masterpiece, this album is both a quintessential grunge album and a classic rock album. Most of the songs are angst-ridden testaments to the oppressions of society. Nirvana’s use of dynamic changes is especially notable on this album. Many of their songs contain soft verses and then shift to loud, aggressive choruses.

The first four tracks of this album are considered to be their finest work and are their most popular songs.

The first track, “Smells Like Teen Spirit,” is undeniably their most recognized song. It is a very alluring track. The lyrics are difficult to decipher due to their nonsensicality and Cobain’s slurred vocals. Many have interpreted this as a teen revolution anthem while others have cited it as a incomprehensible, slew of random lyrics that serve no meaning.

The next track, “In Bloom,” is a testament to the underground music audience of the early nineties.

The third track on the album, “Come As You Are,” is another fine example of Nirvana’s songwriting craft. Unlike the previous songs on the record, this song contains a lengthy guitar solo by Cobain. The solo is not that of a virtuoso, but it fits the piece. The song has been interpreted in a variety of ways, but Kurt Cobain stated that it is about people and what they are supposed to act like. It is a statement regarding non-conformity.

“Lithium” is an attack on the stability of the human mind. There is a lot of self-loathing going on in this song, as Kurt Cobain sings, “I’m so ugly” and takes the voice of a man on the brink of killing himself – dysfunctional, random, and all of that. Cobain made it clear that most of the time he was not singing about himself in his songs, but was pulling from what he saw in other people.

There other tracks on this album all have the same general feeling as the first few tracks. If you have the album, pass it around to others. If you do not own it, go to a local music vendor and purchase it.

Sports Editor

Music is one of my main passions, and I am constantly on the search for new, better stuff. I have a pretty diverse taste, from Notorious B.I.G. to Rage Against the Machine, I like a little of everything. But currently, I am on a hip-hop or light rap kick, and the last two months have been filled with album releases, some that lived up to the hype and some that people still do not even know about.

The Game's Hit

1) The Game’s The R.E.D. Album

After a long break following huge success, the Game hits the scene hard, with an album that seemed almost angry and personal. The CD features actual recordings of him and his wife before the birth of their daughter, Cali. The Game also attracted many stars of the business including Lil’ Wayne, Tyler, the Creator, Rick Ross, Dr. Dre, and Drake.

Go Listen To: “Martians vs. Goblins”, “Good Girls Go Bad”

Mac's Jam

2) Mac Miller’s Blue Slide Park

The young up and comer Malcolm McCormick, as known as Mac Miller released his first full CD and it was quite impressive. Venturing from his soft beats and slow songs, Mac creates song with more professional choruses, noticeably higher sound quality, and more party-like beats.

Go Listen To: “Loitering”, “Party on Fifth Ave.”

3) J Cole’s Cole World – The Sideline Story

The young Jamaican , J Cole has been a YouTube and mixtape celebrity who has created his first full studio CD and it seems to be an instant classic. The songs are long, triumphant, and are filled with all different types of beats. From techno to jazz, Cole’s voice sounds like he could handle any genre that was thrown at him. The best part of the album is obviously Cole’s flow, which makes every song great.

Go Listen To: “Mr. Nice Watch”, “Rise and Shine”

Jay Z and Kanye West's Conterversial Album

4) Jay Z and Kanye West’s Watch The Throne

The duo that every one has been looking for has finally hit the scene with their controversial and unique album. The hype was unbearable, but the album received extremely mixed reviews due to the strange beats and amount of singing, but

personally I thought it was great just based solely on the quality of the raps.

Go Listen To: “Primetime” (Album Only), “That’s My B*tch”

Bad Meets Evil's Unknown Classic

5) Bad Meets Evil’s Hell: The Sequel

Despite repetitive subject matter, the album was a great one, with the combination of Eminem and Royce da 5’9’ creating songs with interesting beats and even more intriguing choruses, with one even featuring comedian Mike Epps. Another album that flew under the radar, due to its’ lack of hype however it came through strong. The best part was the beats and the cleverness of the lines.

Go Listen To: “A Kiss”, “I’m On Everything”

By Ethan Walshe
Managing Editor

On Friday, December 2nd, the No Guts No Glory tour made it’s Massachusetts stop at the Palladium in Worcester. The show was co-headlined by post-hardcore act Pierce the Veil and metalcore band Miss May I. The Amity Affliction, letlive and Woe, Is Me performed as direct support.

Fans had begun to stretch down the neighboring block as they waited for doors to open. When the doors did open at 5:30, ticket holders began to pour in. This amusingly led to every male in line being admitted before the women because the number of women was far greater than the number of men and thus required more time at security.

The event was originally set to be in the upstairs area, a much smaller part of the Palladium than the downstairs, but due to the number of ticket sales, had to be moved to the larger downstairs area. This meant that while the venue was not packed, there was more room to move around, particularly outside of the pit. Fans were abuzz with anticipation at roadies and tech crew made final adjustments to the equipment onstage.

After an extended wait indoors as fans filtered through, the lights finally dimmed and the first band took the stage, Australian post-hardcore quintet The Amity Affliction. The band played an impressive five song set, despite being without one of their two guitarists. The band got a pretty rowdy crowd going, as hardcore dancers began to fill the open space on the floor.

The second band to play, LA-based progressive hardcore act letlive were plagued by technical difficulties throughout their set. Feedback from microphones were a common occurrence and one of their guitarists seemed to be having consistent issues, frequently consulting his amp or his guitar tech in the middle of a song. That being said, the group had an incredible energy, unrivaled by anything this concert goer has seen before, as lead vocalist Jason Butler threw himself across the stage and into the crowd.

The final opening act, post-hardcore septet Woe, Is Me from Atlanta, Georgia took to the stage to a frenzy from fans. The group played a powerful set consisting mainly of songs from their debut album Number(s) but also their recent cover of Katy Perry’s “Last Friday Night” from the Fearless Records compilation album Punk Goes Pop, Volume 4 much to the glee of many fans. The group announced that they would be doing a signing at their merchandise table immediately following their set and after their performance a large number of concert goers moved to the back of the venue for a chance to meet up with the band members.

With all of the opening bands finished, the pit began to fill with all of the fans for the upcoming co-headliners. There was huge amounts of chatter as the minutes passed and roadies moved the opening bands equipment out of the way to make room for the headliners. The atmosphere could be described as electric before these main bands took the stage.

Metalcore band Miss May I stormed the stage amongst a frenzy of strobe lights and smoke and began to tear through their lengthy set. While the band is of a much different genre than the other bands on the tour, they were still received very well by most of the crowd, who began to get very rowdy. The most impressive thing about the bands performance was certainly their light show. Strobe lights were set to go off with every hit of the bass drum, so double bass rolls became even more incredible than they already were.

The mosh pit was filled to the brim with people throwing themselves into each other, crowd surfers and even and old styled circle pit. At one point, lead vocalist Levi Benton called for everyone in the crowd to befriend the security located at the front of the crowd, meaning that fans should crowd surf to the front. He asked for a hundred people to crowd-surf by the end of the song, and though no actual count was taken, just by appearances it seemed that they were very close.

Drummer Jerod Boyd played an engrossing drum solo towards the end of the groups set, exhibiting his strong double bass and odd time signature drumming. The crowd erupted to his performance and the rest of the group returned to the stage to close out their set.

As Miss May I filtered off of the stage, everyone in the crowd got very excited; they were mere moments away from what many ticket holders had come out to see. The overall room temperature seemed to rise several degrees from the fans sheer excitement.

Before final band Pierce the Veil came to the stage, a man dressed as the grim reaper ran out on stage and distributed foam swords and battle axes to an ominous sound track. Fans went wild as the clutched and grabbed for the free items.

San Diego based post-hardcore band Pierce the Veil came on stage to a powerful introductory track explaining what sounded like a post apocalyptical radio announcement. The group then began to play through their extended set consisting mainly of songs from from their 2010 sophomore release Selfish Machines, including opening numbers “The Boy Who Could Fly” and “Besitos”, which are fan favorites. Midway through their set, vocalist Vic Fuentes appeared towards the back of the venue at the sound booth, guitar in hand, to play through “Bulletproof Love” for a more intimate performance. Before finishing the track, he said that he “needed some help getting back to the stage.” The high pitched scream of every fangirl in the audience that followed was deafening, as he threw himself onto the crowd and crowd surfed back to the stage. The whole band finished the song when he returned.

A little while later during the sec, Fuentes stopped the music for a few minutes to talk about the Keep A Breast Foundation, a charitable organization dedicated to fighting breast cancer, who the band had brought along with them on the tour. He shared a personal story about knowing someone with breast cancer who is now cancer free and the crowd erupted with applause and cheers.

The band finished their last few songs, including another song from the Punk Goes Pop compilation mentioned earlier, their cover of Bruno Mars’ “Just the Way You Are.” The band closed the show with their most popular song “Caraphernelia” and a surge of confetti. The audience was engrossed by their performance and the sight.

The No Guts No Glory tour was an impressive show to attend. All of the bands played with an awe-inspiring energy which made the musical performances all the more entertaining. The tour will be continuing until the 16th.

Staff writer

On Wednesday night, a crowd of hundreds gathered in frigid temperatures outside Boston’s House of Blues, eagerly anticipating the annual “Miracle On Lansdowne Street” sponsored by local alternative radio station WFNX. This was the first of three shows that make up the event, which spans over a period of two weeks.

Headlining the show were indie rockers Two Door Cinema Club, hailing from Northern Ireland, with Manhattan indie pop duo Cults opening.

After the doors were opened, the floor filled up fast, all the way to the back wall of the venue. Other patrons gazed down from the mezzanine and upper balconies while roadies began to prepare the stage with Cults’ equipment.

Madeline Follin of Cults - Photo © Jocelyn Cote

As Cults took the stage, the crowd went into an uproar. Although the band is technically a duo, they bring along three extra touring members to help fill the gaps in their guitar, percussion, and bass sections. Lead singer Madeline Follin announced that this would be their last show of the year, and also touring drummer Marc Deriso’s final show with the band. Some concert-goers seemed more in tune with Cults than others, but as a whole they did their job in getting the crowd riled up for the show’s headliner.

The stage was once again assumed by roadies, but soon the lights went down and Two Door Cinema Club finally took the stage as screams of joy erupted from the audience.

The band opened with “Cigarettes In the Theatre,” which also opens their successful debut album, Tourist History. Fans were up on their feet and dancing immediately as lead guitarist Sam Halliday strummed the song’s first chords. Subsequently, lead singer and rhythm guitarist Alex Trimble began his duty as vocalist as the crowd went wild.

The setlist derived heavily from their aforementioned debut album, with a few b-sides and rarities such as “Hands Off My Cash, Monty” and “Kids” thrown in for good measure. The band also took time to praise the crowd on their enthusiasm and revealed how Boston was one of their favorite cities to play in. They also revealed their plans to return to the studio in January to record their long-awaited sophomore album, and treated the crowd to a sneak preview by playing new songs “Handshake,” “This is Moon,” and “Sleep Alone.”

Long-time fans of the band enjoyed lesser-played songs from Tourist History such as “Eat That Up, It’s Good for You” and “You’re Not Stubborn,” while others belted out the lyrics to current singles “Undercover Martyn” and “What You Know,” the band’s most popular song and main set closer.

Alex Trimble of Two Door Cinema Club - Photo © Jocelyn Cote

After cries for an encore from their adoring fans, the band returned to the stage one last time for a three-song encore comprising of “Come Back Home” and “Sleep Alone,” and finally closing with the fast-paced fan-favorite “I Can Talk,” during which a small mosh pit ensued. As Two Door Cinema Club walked offstage for the final time, the crowd dispersed with ringing ears and grins on their faces, while a brave few clung to the barriers in hopes of receiving one of the four setlists from a roadie.

Altogether, Two Door Cinema Club delivered an upbeat and unforgettable show, with many fans already looking forward to their next appearance in Boston.

The Miracle On Lansdowne Street continues on December 9th with Matt and Kim and Mute Math performing, and on December 10th with Beady Eye and Black Box Revelation performing, both at the House of Blues.

I’m not afraid to admit it – I’m a music nerd. Many of my favorite bands have been huge influences on my life for years, and writing about music is a passion of mine. However, my music taste is quite the opposite of many girls here at WA: I much prefer a crazy guitar solo to a catchy dance beat. My choices on this list vary in age – some albums were released this year, while a few are a bit older. Although my taste is varied, many of my choices may not be for you. After all, everyone has their own unique music taste.

‘Tourist History’ by Two Door Cinema Club

© Kitsune Music

Ever since this Irish trio stepped onto the indie music scene with the release of this debut album in 2010, they’ve been taking the world by storm. Their self-declared “alt-tronic” genre is a unique blend of electronic riffs and fast paced guitar-driven songcraft. Tourist History is filled to the brim with catchy lyrics, hooks, and beats. If you’re looking for a fun, upbeat record, give this one a spin. I attended a show of theirs this past Wednesday and it was one of the best concerts I’ve been to!

Go listen to: “Cigarettes In the Theatre” and “I Can Talk”

‘The Big Roar’ by The Joy Formidable

© Canvasback Music

While I am usually not a fan of bands with female vocalists, The Joy Formidable blow me away. This debut album was released in January of this year. Hailing from Wales, The Joy Formidable released various singles and an EP in 2009 through 2010, creating a growing fanbase. Since the release of The Big Roar, the band has been touring across Europe and the United States, even opening up for the Foo Fighters at a few shows. For someone looking for a unique indie album, be sure to give it a listen. The album is characterized by a dynamic female vocalist and exceptional guitar work.

Go listen to: “Whirring” and “The Greatest Light is the Greatest Shade”

‘Neighborhoods’ by blink-182

© DGC Records

One of the biggest modern punk bands in the world, blink-182 recently reformed in 2009 after a 5 year hiatus. Their newest effort, Neighborhoods, was released with an 8 year gap between their previous self-titled album. Obviously, the band has changed in this span of time, and Neighborhoods is definitely different from any of the band’s previous albums. First and foremost, the record has a much more mature sound to it, which some fans were not happy with. Personally, I think this sound is a step in the right direction. While I love the old school “potty jokes” blink as much as the next person, a band can only go so far before a change would be healthy. The album also features more experimental additions to the band’s sound such as the addition of subtle synthesizers. I was lucky enough to get a preview of some songs from the album when I saw blink-182 at the Honda Civic Tour this year, and I can assure that for a fan with an open mind, Neighborhoods will not disappoint.

Go listen to: “Ghost On the Dancefloor” and “After Midnight”

‘Send Away the Tigers’ by Manic Street Preachers

© Columbia Records

In the 1990’s, the Manic Street Preachers were one of the bands fronting the Britpop movement. Released in 2007, Send Away the Tigers is quite an upbeat album for the Manics, but nonetheless an excellent one. With exhilarating guitar riffs, strong vocals, and unique basslines, the band does not disappoint with this recent effort. The addition of synthesizers to certain songs also adds to the album as a whole. If you’re looking for a strong, guitar-driven band, the Manics would be an excellent choice.

Go listen to: “Send Away the Tigers” and “Autumnsong”

‘Goo’ by Sonic Youth

© DGC Records

Sonic Youth were one of the first bands to dive into the previously undiscovered world of experimental rock. Using endless amounts of effects pedals and distortion, they create a mind-blowing sound coveted by many but achieved by few. Released in 1990, Goo is my personal favorite Sonic Youth album.  Riff after riff, the album creates an unrivaled wall of sound. However, some may dismiss this as simply noise. Sonic Youth are definitely an acquired taste, but once you grow to love them, there’s no turning back.

Go listen to: “Kool Thing” and “Titanium Expose”