A few days ago I offered up volume one of stuff that should have been in my best CDs of 2013 note, but wasn’t. So now we arriveth at volume the second, whereupon I apologize to Adam Marsland.
Adam has been one of my absolute favorites for a long time. I’m a sucker for the sub-genre we call Power Pop, and he’s among the best. His last studio disc, 2009’s Go West, made my intensely fantastic super-platinum list, and was one of the best PPop CDs I have heard in years. Read more
In Part 1 we noted that 2009 had produced some really good music. In Part 2 we explained that the past year had given us some really great music. Today, though, we take an unprecedented step, because a few of the platinum-level releases from 2k9 were simply a cut above the rest, necessitating the creation of a Super-Platinum LP award. But that’s okay – if artists keep cranking out more exceptional music than we have categories to deal with, we’ll keep inventing new ways of honoring their efforts. Read more
Earlier I had all kinds of nice things to say about our Super-Platinum LP recipients. So now let’s take a few minutes and enjoy a little video concert featuring these outstanding bands. Up first, this is Jets Overhead with “Heading for Nowhere.”
In Part 1 we noted that 2009 had produced some really good music. In Part 2 we explained that the past year had given us some really great music. Today, though, we take an unprecedented step, because a few of the platinum-level releases from 2k9 were simply a cut above the rest, necessitating the creation of a Super-Platinum LP award. But that’s okay – if artists keep cranking out more exceptional music than we have categories to deal with, we’ll keep inventing new ways of honoring their efforts.
IAMX – Kingdom Of Welcome Addiction
Darkness? Yeah, Chris Corner knows a thing or two about darkness, and in Kingdom Of Welcome Addiction he’s kind enough to escort us through a blasted, perversely alluring landscape of addiction, lust, self-loathing, sexual degeneracy, spiritual poverty and alienation that’s about as dark as it gets. And the landscape is distinctly British in a way that recalls perhaps the greatest portrait of England ever painted, TS Eliot’s The Waste Land. Read more
You may not have heard of Adam Marsland. You may not have heard of his former band, Cockeyed Ghost. But as we’ve tried to demonstrate, time and time again, that doesn’t necessarily mean anything. Radio is a wasteland, the RIAA is waging a toxic war on the artist, and the explosion of media and Internet channels has so fractured and nichified the listening audience that the Second Coming of The Beatles probably wouldn’t be noticed by more than a few hundred people. Upshot: there’s a lot of great music out there that you and I haven’t discovered yet (although I’m searching as hard as I can). Read more
My old friend Adam Marsland has just released Daylight Kissing Night: Adam Marsland’s Greatest Hits, a greatest hits collection that draws from the best of both his solo and Cockeyed Ghost efforts, and boy howdy, am I jacked. If you don’t already know Adam’s music, let’s go ahead and get the triangulation out of the way. He’s kinda like a modern-day cross between Elton John, Brian Wilson, KISS and Todd Rundgren, with a dash of Elvis Costello, Raspberries, Big Star and Foo Fighters sprinkled in for good measure.
And now, for my favorite Adam Marsland moment. Read more
…don’t play “Stump the Band” with him for money, whatever you do.
Adam Marsland, the lead singer for LA-based Cockeyed Ghost, played Mead Street Station, a cool little bar in Denver’s Highlands neighborhood, Thursday evening. In addition to doing several cuts from the new Ludlow 6:18 CD and treating us to killer covers from The Beach Boys (“Surfer Girl”), BJ Thomas (“Hey Won’t You Play Another Somebody Done Somebody Wrong Song”), and Elton John (“Better Off Dead” and “Take Me to the Pilot,” both of which were just awesome), he also devoted an hour to taking requests from the crowd. He nailed 20 of 22 (he failed to deliver on the Staind request, and much to his credit he didn’t know Ween’s incomprehensibly stupid “Push Th’ Little Daisies”), although the scoring was perhaps a bit generous on Tom Petty’s “Free Falling.” Read more