1. Blood, In This Moment
2. 20/20 Experience, Justin Timberlake
3. Wondrous Bughouse, Youth Lagoon
4. The Next Day, David Bowie
5. Earth Rocker, Clutch
6. La Costa Perdida, Camper Van Beethoven
7. The Lumineers, The Lumineers
8. Boys & Girls, Alabama Shakes
9. Babel, Mumford & Sons
10. Invisible Way, Low
11. Dark Adrenaline, Lacuna Coil
12. Specter At The Feast, Black Rebel Motocycle Club
13. Searching for Sugarman, Rodriguez
14. Darker the Night, Hillstomp
15. The Beast In Its Tracks, Josh Ritter
16. Memphis, Boz Scaggs
17. Night Visions, Imagine Dragons
18. Honky Tonk, Son Volt
19. Muchacho, Phosphorescent
20. Anthems, Anthrax
SECRET TREEFORT IN-STORE REVEAL: CAMPER VAN BEETHOVEN AT 4:30!
Today’s Record Exchange Secret Treefort In-store is …
Camper Van Beethoven (playing at the El Korah Shrine at 9 p.m. tonight) will perform at 4:30 p.m. TODAY at The Record Exchange, 1105 W. Idaho St. in Downtown Boise. As always, this Record Exchange in-store event is free and all ages — and you don’t need a Treefort pass to attend (but you should get one anyway and we have them for sale at the store).
ABOUT CAMPER VAN BEETHOVEN
Camper Van Beethoven is an American alternative rock group formed in Redlands, California, in 1983 and later located in Santa Cruz and San Francisco. Their eclectic and ever-evolving style mixes elements of pop, ska, punk rock, folk, alternative country, and various types of world music. The band initially polarized audiences within the hardcore punk scene of California’s Inland Empire before finding wider acceptance and, eventually, an international audience. Their strong iconoclasm and emphasis on do-it-yourself values proved influential to the burgeoning indie rock movement.
Released within an 18 month period, the band’s first three independent records enjoyed critical success, each placing in The Village Voice’s 1986 Pazz and Jop Top 100 Albums list. Their debut single, “Take the Skinheads Bowling”, remains a college rock radio staple. The group signed to Virgin Records in 1987, released two lauded albums and enjoyed chart success with their 1989 cover of Status Quo’s “Pictures of Matchstick Men”, a number one hit on Billboard Magazine’s Modern Rock Tracks. They disbanded the following year, however, due to internal tensions.
Individual members found greater commercial success thereafter, with lead singer David Lowery forming Cracker, multi-instrumentalist David Immerglück joining the Counting Crows, and several other members playing in Monks of Doom. Beginning in 1999, the former members resumed their collaboration, resulting in a full-fledged reunion and several new releases.
NEW DVD/BLU-RAY: 'LOVE FOR LEVON'
PREVIEW/BUY THE DVD HERE.
PREVIEW/BUY THE BLU-RAY HERE.
PREVIEW/BUY THE CD HERE.
Back on October 3rd, an unbelievable array of star power and musician’s musicians came together at the Izod Center in East Rutherford, New Jersey to pay tribute to the late great Levon Helm. Dubbed “Love For Levon,” the marathon two-set concert was presented with the aim of raising money to pay off the mortgage on Levon Helm Studios. On March 19th official footage of Love For Levon made its way to DVD, CD and Blu-Ray with the release of four editions of the instant classic concert: Blu-Ray & CD, Blu-Ray, DVD and DVD & CD. –Glide Magazine
Tracklisting:
Disc: 1
1. The Shape I’m In (Warren Haynes with the All Star Band and Rami Jaffee)
2. Long Black Veil (Gregg Allman and Warren Haynes with the All Star Band)
3. Trouble in Mind (Jorma Kaukonen and Barry Mitterhoff with Larry Campbell, Justin Guip, Byron Isaacs and Jaimoe)
4. This Wheel’s on Fire (The Levon Helm Band with Shawn Pelton)
5. Little Birds (Larry Campbell, Justin Guip, Amy Helm, Byron Isaacs and Teresa Williams)
6. Listening to Levon (Marc Cohn with the Levon Helm Band and Greg Leisz)
7. Move Along Train (Mavis Staples with the Levon Helm Band)
8. Life Is a Carnival (Allen Toussaint with the Levon Helm Band and Jaimoe)
9. When I Paint My Masterpiece (John Prine and Garth Hudson with the Levon Helm Band and Joan Osborne)
10. Anna Lee (Bruce Hornsby with Larry Campbell, Amy Helm and Teresa Williams)
11. Ain t Got No Home (Jakob Dylan with the All Star Band and Rami Jaffee)
12. Whispering Pines (Lucinda Williams with the All Star Band and Rami Jaffee)
13. Rag Mama Rag (John Hiatt with the All Star Band and Mike Gordon)
Disc: 2
1. Don t Do It (David Bromberg and Joan Osborne with the All Star Band)
2. I Shall Be Released (Grace Potter with Don Was and Matt Burr)
3. Tears of Rage (Ray LaMontagne and John Mayer with the All Star Band)
4. Rockin Chair (Dierks Bentley with the All Star Band, Jessi Alexander and Jon Randall)
5. Chest Fever (Dierks Bentley and Garth Hudson with the All Star Band, Jessi Alexander and Jon Randall)
6. A Train Robbery (Eric Church with the All Star Band)
7. Get Up Jake (Eric Church with the All Star Band)
8. Tennessee Jed (John Mayer with the All Star Band and Steve Jordan)
9. Up on Cripple Creek (Joe Walsh and Robert Randolph with the All Star Band)
10. Ophelia (My Morning Jacket)
11. It Makes No Difference (My Morning Jacket)
12. The Night They Drove Old Dixie Down (Roger Waters, My Morning Jacket and G. E. Smith)
13. Wide River to Cross (Roger Waters and G. E. Smith with the All Star Band)
14. Encore: The Weight (All)
THE VINYL WORD: HOW TO DESTROY ANGELS 'WELCOME OBLIVION'
PREVIEW/BUY THE VINYL HERE
Trent Reznor often seems more robot than man, like he plugs in and charges up each night instead of sleeping. Luckily, his musical output has proven reliably alive. Following Nine Inch Nails’ consistent excellence and stellar work scoring David Fincher’s ‘The Social Network’ and ‘The Girl With The Dragon Tattoo’ comes the debut HTDA album, an impressively powerful affair. Despite boasting such a dominant frontman, his wife and co-vocalist Mariqueen Maandig’s harmonious vocals rule here, adding something softer to the digitised beats of ‘On The Wing’ and ‘Keep It Together’. Only the overlong ‘Ice Age’ disappoints on a solid, often stunning record. –NME
BLACK REBEL MOTORCYCLE CLUB'S 'SPECTER AT THE FEAST' & OTHER NEW CD RECOMMENDATIONS
PREVIEW/BUY THE CD HERE
On their 2001 debut, B.R.M.C., Black Rebel Motorcycle Club offered a song titled “Whatever Happened to my Rock and Roll (Punk Song),” an energetic and attitude-driven paradigm for what the band thought rock and roll should sound like, or at least the attitude that rock bands should possess. Including this type of song on a debut implied that they would try to right the ship (and also demonstrated that they care more about their music ideology than about the grammar rules of “whatever” versus “what ever”).
For a few albums, including a creative peak in the vastly underrated Howl, BRMC encompassed all that they believed rock should be, a crucible of influences that spanned decades, that fans of The White Stripes and Zeppelin and Supergrass and JAMC could all relate to.
Their seventh LP, Specter at the Feast, is anything but complacent. It comes nearly three years after their previous release, 2010‘s Beat the Devil’s Tattoo, and the band has endured the unthinkable tragedy of bassist/singer Robert Levon Been’s father, Michael Been of ’80s band The Call, suddenly dying backstage while working as the group’s sound engineer as the trio performed at Pukkelpop Festival in Belgium. The time between this event and now has seen the group trying to cope with the loss of a crew and family member, and Specter at the Feast is written as a document to that time, an ambitious and personal project from a group that hasn’t been associated much with ambition since the release of Howl.
And, the effort shows, as the album sits easily with their early best, a worthy addition in the tradition of turning heartbreaking circumstances into cathartic art. Just this year we witnessed Local Natives digging in the same mine, but from Lou Reed to Arcade Fire, some of rock’s best music has been a reaction to personal losses.
Specter at the Feast, though, doesn’t drown in its depression. It is intent on showing the range of the human experience. Opening with the dirty, bass-driven “Firewalker,” the first emotions on the collection are not self-pity, but self-reflection, and the following “Let the Day Begin” covers The Call with a nod to ’70s metal riffs and British rock revivalism, both songs paying as much homage to Been’s father as they do to the history of Black Rebel Motorcycle Club.
At its best, Specter at the Feast is more than just vintage BRMC, with some of the more UK-indebted noise pop reaching impressive heights. “Returning” lunges for vast emotional peaks and exceeds them with a sense of a sprawling shine, while “Lullaby” takes the guitar lick of “In My Life” and spins it in freeing, new directions, avoiding anything more than comparisons as a successful homage.
And if the album was written to demonstrate the ups and downs that come with life’s typical unpredictability, the closing combination of “Sell It” and “Lose Yourself,” together clocking in at around 15 minutes, encapsulate this mission. The end impression left by these closers is how out of control we all are, as they shift from noise and chaos to beauty and peace. More than a decade later, you have to wonder if BRMC ever realized that the only thing that ever happened to rock and roll was life, and that it’s all far more complicated than a single song or band can remedy. Reacting to what life has given them has made Black Rebel Motorcycle Club a better band on Specter at the Feast, and we can hope that this change will stick. –Paste Magazine