My Favorite Albums of 2014

My Favorite Albums of 2014 (in no particular order)

Here’s the list of my favorite albums of 2014. I returned to these records repeatedly over the course of the year, and each fulfilled very different needs at different times. Therefore, I didn’t rank them. Doing so would be like ranking which of your children you loved best.

1. “The Take Off and Landing of Everything”: Elbow

Released March 10, 2014

I no longer hesitate to say that Manchester-based Elbow claimed the place in my heart that U2 abdicated after years of lack-luster releases that failed to match the greatness 1991’s “Achtung Baby”. Elbow describe their music as “prog rock without the solos”, owing heavy debts to Peter Gabriel-era Genesis and Talk Talk. Lead singer Guy Garvey’s husky tenor voice often sounds like Peter Gabriel’s voice, especially in the high register, and his thoughtful lyrics earned him the title “Poet Laureate of the Everyday” from the British press.

Thematically, the album simultaneously celebrates and dreads middle age (most of the band members just turned 40); the seemingly-amicable demise of Garvey’s long-term relationship with journalist/novelist Emma Jane Unsworth; a love affair with New York City (where Garvey lived for three months, writing the lyrics to the “King Kong” musical); the changing nature of social drinking and pub culture when one returns to bachelorhood at age 40; and the tedium of trans-Atlantic flights.

This album has some songs (such as “Fly Boy Blue/Lunette”) that are less formulaic, more adventurous than some of the band’s more anthemic, stadium-ready songs. While I prefer Elbow’s albums “The Seldom Seen Kid” and “Build a Rocket Boys!” to this new album, “The Take Off and Landing of Everything” is a welcome addition to their catalogue.

My favorite song on “The Take Off…” is “My Sad Captains”. Unsworth suggested the theme of the song to Garvey from the following lines in Shakespeare’s “Antony and Cleopatra”: "Come, let's have one other gaudy night; call to me all my sad captains; fill our bowls; once more, let's mock the midnight bell". Garvey said the song is about "missing my friends that have dropped out of the drinking culture that we all met in, or moved away, or died.”

Here's a video of "My Sad Captains":

 

 

If you enjoy this album, be sure to listen to its companion EP, “World Café Live”, featuring four stripped down versions of tunes from “The Take Off…” and one reworked version of their song “Scattered Black and Whites”.

 

 

2. “After the Disco”: Broken Bells

Released January 31, 2014

 

Broken Bells is a collaboration between James Mercer (lead singer/songwriter of The Shins) and producer/multi-instrumentalist Brian Burton, a.k.a. Danger Mouse (member of Gnarls Barkley, producer for Gorillaz, The Black Keys, U2, etc.). “After the Disco” is a metaphor for middle-aged irrelevancy, which Mercer and Burton (ages 43 and 37, respectively) artfully sidestep. Rolling Stone described the album’s sound as “sleek and world-weary, often homing in on that sexy moment of malaise when the Seventies wanted to turn into the Eighties so badly but didn't quite know how to do it yet.”  

According to Mercer, the album’s pervasive retrofuturism was largely inspired by the cover art, which was created before the music:

The guy who did the artwork for the first record, Jacob Escobedo, came up with that concept for the artwork [for this album], and in that moment we began talking about retro-futurism: so if you were to go back and look at the science fiction books released in the fifties and just how fascinating it is to see what people thought about the future. And for us, that kind of became like a theme. Brian's got all of this ancient gear - synthesisers from the time that synthesisers were being made - and they were incredibly futuristic at that time. And then as we got more into it ... the whole aesthetic started to evolve from there.

Ultimately, “After the Disco” made my list because of the melodies, hooks, song structures, and production. The lyrics are pretty good for a pop band, but not on the same level as someone like Leonard Cohen.

Here's a video of "Perfect World":

 

3. “Popular Problems”: Leonard Cohen

Released September 22, 2014

Leonard Cohen released his thirteenth studio album one day after his 80^th birthday. Although he released his first album in 1967, Cohen was already a critically acclaimed, rising literary star in Canada; he wrote four volumes of poetry and two novels before he decided to try his hand as a singer/songwriter. Cohen continued to release albums and tour into the early 1990’s, when he retired to a Buddhist monastery, even though he considers himself a devout Jew. After feeling the pull of the outside world, Cohen emerged from the monastery five years later to discover that his business manager embezzled almost all of his life’s savings, as well as sold publishing rights to his songs. This financial crisis prompted a flurry of writing, recording, and touring that Cohen has continued long after he reestablished his fortune. Cohen’s financial loss proved his fan’s gain, as it’s given us several world tours, four live albums, and two new studio albums, including the masterful “Popular Problems”.

While Cohen’s previous album, “Old Ideas”, was a gem, “Popular Problems” is much more cohesive and focused. Cohen co-wrote eight of the nine songs on “Popular Problems” with Patrick Leonard. Leonard often adapted Cohen’s poetry into song form, tailoring the melodies to the singer’s vocal limitations. Cohen said, "I would have a rhythm in mind […] I had the function of the veto. Most of the musical ideas were Patrick's, with a bit of modifications. Whether there were horns or violin, all of those things were decided mutually." Cohen said that he is completely satisfied with all the songs save one: “Born in Chains”, the only one he wrote without Leonard. Cohen said that he began writing “Born in Chains” 40 years ago, and has rewritten it numerous times. Another track on the album, “A Street”, began gestating shortly after the 9/11 terror attacks. Concerning amount of time that it usually take Cohen to complete a song, he said, "Being a songwriter is like being a nun: you're married to a mystery […] My methods are obscure and not to be replicated. A song will yield itself if you stick with it long enough. But you've got to stick with it for a very long time." But Cohen said he was astonished with how quickly he and Leonard co-wrote the other songs on “Popular Problems”.

The musical arrangements on “Popular Problems” are more fully developed, less skeletal, than Cohen’s last several albums—probably due to Patrick Leonard’s influence. Because of his age and diminished vocal range, Cohen largely speaks his melodies with inflection, augmented—as usual—by female backing singers. But I actually prefer the aged timber of Cohen’s voice now to his singing in the 1960s and ‘70s.

For me, the Cohen’s lyrics on “Popular Problems” were my favorite for 2014. The meter of each line is so exact, and the couplets are so perfect that the writing seems effortless, even though most of the lyrics were crafted over many years. Here’s one of my favorite verses from “Almost Like the Blues”:

There is no God in Heaven and there is no Hell bellow

So says the great professor of all there is to know

But I’ve had the invitation that the sinner can’t refuse

And it’s almost like salvation; it’s almost like the blues  

Here's a video of "Almost Like the Blues":

 

For further listening, check out Cohen’s newest live album, “Live in Dublin”, released December 2, 2014.

4. "Aventine" (Deluxe Edition): Agnes Obel

Released October 7, 2014

 

Danish singer/songwriter Agnes Obel relocated to Berlin in 2005, and released her critically acclaimed debut, “Philharmonics”, in 2010. “Aventine” is only subtlety different than its predecessor, but that’s not a bad thing. The arrangements center on Obel’s piano playing (minimal, classical styling with a pop sensibility), then on violin/viola and cello. Obel’s voice and songs perfectly embody the feel of autumn. While I love her songs as a whole, her lyrics are a little too impressionistic and obtuse. But her lyrical flaws are easily excused, as Obel isn’t a native English speaker, and because the overall esthetic is so emotive.

Here's a video of "The Curse":

 

5. "Lullaby and… the Ceaseless Roar": Robert Plant

Released September 8, 2014

Robert Plant and The Sensational Space Shifters released an album that blends folk, rock, blues and worldbeat to create a great road trip soundtrack. This is definitely a “vibe” record, and I especially enjoyed the seamless blending of North and West African music with western pop music. I prefer Plant’s more nuanced vocal performances on this album to his rock and roll acrobatics with Led Zeppelin.

Here’s a video of “Little Maggie”:



 

6. Blood Oranges in the Snow: Over the Rhine

Released November 4, 2014

I was fortunate to attend a week-long songwriting workshop this year, taught by Over the Rhine’s Karin Bergquist and Linford Detweiler. One highlight of the workshop was when Detweiler played the class two tracks off of “Blood Oranges in the Snow” prior to the album’s release: “My Father’s Body” and “Bethlehem”. These two tracks proved my favorites on the record. Over the Rhine described “Blood Oranges” as a “reality Christmas album” that honestly acknowledges the emotional messiness many people experience during the Christmas season: loss of loved ones, financial insecurity, war, regret. But the album also balances melancholy with cautious hope, and with redemption that doesn’t ignore scars. Ultimately, when I listen to “Blood Oranges”, I’m reminded of President John F. Kennedy, who described himself as an “idealist without illusions”.

The musical landscape of “Blood Oranges” is mostly painted from an Americana/country pallet. As always with OTR records, the production is impeccable, and Burgquist’s vocals never fail to “take us to church”. As an added treat, Detweiler also sings on much of the album. The lyrics on the album often moved me to tears, especially “My Father’s Body”:

My father’s body lies beneath the snow
And I’m still learning how to let him go
I’ve come to know him better since he’s gone
And often wondered if or how I could’ve been a different
Better son

Here’s Over the Rhine performing Merle Haggard’s “If We Make it Through December”:

 

 

7. “Come Morning”: Wrong Kata Trio

Released October 18, 2014

 







Wrong Kata Trio is an instrumental, garage-jazz/funk/space-rock ensemble. Two-thirds of the band live in Lawrence, Kansas, while one-third lives in Wichita. To further complicate matters, guitarist/violinist U.J. Pesonen is Finnish, bassist Anthony Case is Jamaican, and drummer Brandon Graves is a Kansan. All three musicians played with Don and Lori Chaffer in the band Waterdeep, so it’s not surprising that Wrong Kata Trio enlisted Don Chaffer’s considerable talents to record their sophomore album, “Come Morning”. The record is a hipster’s gnostic dream come true, as it’s only available on vinyl. The record does come with a digital download code, but you can’t obtain a digital version anywhere else. Pesonen told me that the band decided to release the album exclusively on vinyl because of the enhanced sound quality, the sharp decline in consumer demand for CDs, and to showcase the album’s artwork.

 

You can purchase the vinyl record of “Come Morning” here:

http://wrongkatatrio.com/buy-the-new-album-come-morning/

 

 

The songs on “Come Morning” masterfully balance the disparate-yet-complementary playing styles of each band member. Pesonen’s guitar playing is clean, delightfully cerebral, and somewhat minimal—reminiscent of Bill Frisell in style and tone, perhaps with a dash of Andy Summers. Case’s bass lines grove perfectly, whether he’s playing funk, jazz, or rock. Additionally, Case uses numerous effects to add futuristic, space-age styling to the compositions. And Graves is a master behind the drum kit—a true artist who knows exactly what to play and when to play it.

 

Wrong Kata Trio’s self-titled, debut album (which I highly recommend) is available on iTunes and Spotify. WKT is a band that sounds great recorded, but sounds even better live.

Here's a teaser trailer for "Come Morning":

 

 

I hope you have a safe and happy New Year. Happy listening!

 

 

 Visit http://www.jackkorbel.com/

 

 

 

 



 



A Letter to Paul Simon

November 6, 2014

Dear Paul Simon,

            I’m writing to thank you because you and your music were instrumental to me marrying my wife. In autumn of 2011, I introduced a friend, Fr. Jim, to your album, “So Beautiful or So What”. Mightily impressed with the album, Fr. Jim brought your CD to a card game that he occasionally played with three friends, one of whom, Jamie, would later become my beautiful wife.  Jamie and her family have all been life-long fans of your music, so after she listened to “So Beautiful…”, she suggested to Fr. Jim that we should all go see you in concert in Oklahoma City on November 6^th, 2011.

            Jamie and I had met briefly before we attended your concert, but we didn’t know much about each other. Taking a road trip from Wichita to Oklahoma City, tailgating outside the Civic Center Music Hall, and attending your fantastic show afforded us the opportunity to learn a little bit about each other.

            When your road crew experienced technical difficulties with the soundboard, we were delighted when you performed a stripped-down, six-song set in the lobby of the Civic Center with members of The Punch Brothers. After the soundboard issues were solved, you performed a generously long set. You are Jamie’s and my favorite musical artist, and the concert proved the best show either of us has ever experienced.

            The week after the concert, Jamie and I began dating. Because we were both in our late thirties when we met, we often quote your song “Love and Hard Times” to each other: “Thank God, I found you in time.” My wife and I christened November 6^th “Paul Simon Day”, and each year we celebrate the anniversary of your Oklahoma City concert. Tonight, Jamie and I will raise a glass of wine to your good health. He’s to you, Mr. Simon!

Most Sincerely,

Jack Korbel 

 

As today marks the 50th anniversary of President John F. Kennedy's assassination, here's a link to the song I wrote about Jacqueline Kennedy Onassis, and the lyrics: http://www.amazon.com/The-Stain/dp/B003P2NPS4

Oh, well do I remember that bleak November day
I was stationed as an Airman out at Andrews Air Force Base
I can’t forget the moment you descended from the plane
For you refused to change your skirt so they would see the stain

The woolen suite you wore was pink with matching pillbox hat
You looked like a drift of blossoms on the navy Lincoln’s back
Zapruder’s homemade movie blurs the colors like Monett
But clearly I remember the vivid crimson stain

You were mindful of the photographs the press would surely take
From Parkland to Bethesda, The Oath inside the plane
“They need to see what they have done,” Mrs. Johnson heard you say
So you refused to change your suite so they would see the stain

Oh, The Dallas Times-Herald said it might rain
But the Texas sun beamed down on your motorcade
If only the bulletproof top had remained,
How many lives might have changed for the better?
So much depends on the weather

Then Monday found you wearing black, your children, powder blue
Your son salutes the casket like he sees the soldiers do
Of all the symbols of your grief—the graves eternal flame—
The one that I remember first will always be the stain

Open Mic Stereotypes

            During 2010-2012, I played dozens of open mic nights in bars throughout the Midwest. Open mics were my last resort as a touring singer-songwriter. I would try to book paying gigs first (at house concerts, colleges, pubs, nursing homes); then coffee house gigs (playing for tips only); and open mics last, as a way to fill blank dates on my touring calendar. I would sometimes busk on street corners of posh shopping districts during the day in order earn gas money if I knew I had a non-paying, open mic scheduled for that night.

            After playing just a few open mics, I noticed that the participants often fell into one of the following categories:

·         The Sad Coed: Sophomore undergraduate, singing morose break-up songs. Her singing is overly-affected. The Sad Coed spends more time picking her outfit for open mic night than practicing guitar. Frat Boys in attendance buy her drinks, hoping to take advantage of her vulnerability. She usually plays a Fender acoustic guitar.

·         The Frat Boy: He’s the source of songwriting inspiration for The Sad Coed. The Frat Boy wears kaki cargo shorts (even in winter), flip flops, polo shirt, and a ball cap (often worn backward). He typically performs Dave Matthews or Jack Johnson covers. The Frat Boy often plays a Takamine guitar.

·         The Emasculator: The Sad Coed as a graduate student. She’s transitioned from sad to bitter, and she’s become proficient playing barre chords. The Emasculator earned her bachelor’s degree in either English Literature or Psychology; her master’s degree will be in Women’s Studies. She covers Ani DiFranco, and her original song lyrics echo the rage of Alanis Morissette’s “You Oughta Know”. The Emasculator plays an Alvarez guitar.

·         The Tourist: Touring singer-songwriter on a regional tour. He couldn’t book a coffee house gig on a Wednesday night, so he came to the open mic. The Tourist sports rumpled blue jeans and a V-neck T-shirt because he sleeps in his car. He performs three original, confessional songs that sound vaguely like Townes Van Zandt. The Tourist announces that he has CD’s for sale; he doesn’t sell any. The Tourist often travels with a Martin cut-away guitar.

·         The Aged Hippy: Majored in the ‘60’s before dropping out of college. When describing his eccentric behavior, friends of The Aged Hippy say, “He never came back from Woodstock.” The Aged Hippy haunts the main drag of college towns, and students debate whether or not he’s homeless. Anti-government protest songs are the staple of The Aged Hippy. His guitar is an unidentifiable make and model, if he has a guitar; he is known for asking other open mic performers, “Would it be cool if I borrowed your guitar for my set, man?”

·         The Poet with a Guitar: Great lyrics, average singing and guitar playing abilities. He’s often frustrated because he writes beautiful songs that aren’t marketable. The Poet with a Guitar has a CD that no one buys. If he plays cover songs, they’re usually by Paul Simon or Leonard Cohen. He plays a Larrivee guitar.

·         The Cocky Kid: He’s in his late teens or early twenties. His singing is affected and nasal, and he plays rock guitar licks on his Gibson acoustic. The Cocky Kid’s lyrics abound with cliché. He often looks like a Johnny Lang clone. His parents and girlfriend are always in attendance. The Cocky Kid tries to sell his CD from the stage, and he’s surprised when no one buys one.

·         The Evangelist: Praise and worship leader of the young adult service at his church. He majored in music ministry at the local Bible college, and he buys all of his clothes at The Gap. The Evangelist plays praise and worship choruses on a Taylor guitar, with his eyes tightly closed. He introduces his songs by saying, “Father, we just thank you for being with us always, even in this bar.” His entourage stands in the back of the bar, swaying, eyes closed, hands in the air.

·         The iPhone Singer/Rapper: Plugs his iPhone into the P.A. system, and sings and/or raps to pre-recorded backing tracks. If he sings, he’ll rely heavily on vocal acrobatics, imitating his favorite soul, R&B, and hip hop singers.  The iPhone Singer/Rapper takes great offence if anyone refers to him as a karaoke singer.

·         The Host of an open mic is often in one of the following four subcategories:

o   The Gracious Guitar Wizard: Amazing guitarist. He’s usually clad in a black t-shirt, blue jeans, and sneakers; he doesn’t have time to worry about stage costumes or gimmicks because he’s always practicing guitar. When he performs instrumental solos, you’re in for a treat. He’s genuinely affirming and encouraging of all open mic participants. The Gracious Guitar Wizard makes a living teaching guitar lessons, playing in jazz ensembles, and hosting open mics.

o   The Human Jukebox: Audience members shout the titles of songs, and this host knows how to play all of them—from George Jones to Nirvana.  

o   The Vixen: Channels female country singers of the 1960’s. The Vixen desperately wishes that she was Zooey Deschanel. In addition to playing guitar, The Vixen will sometimes play ukulele, autoharp, and/or accordion. Beneath her congenial façade, The Vixen is coldly businesslike, mercilessly pulling participants from the stage for lack of sufficient talent, or if she wants to cram late arrivals onto the sign-up sheet.

o   The Freak Show: Style over substance. The Freak Show invests in elaborate stage clothes, and projects a stage persona. Examples include The Tattooed, Bearded Hillbilly; The Tom Waits Wannabe; The Victorian Era Prostitute; The Goth/Vampire.

If you go to an open mic in your city, I guarantee that you’ll meet several participants who embody the stereotypes listed above. Some open mics are worth attending, while others are awkward, at best. My favorite open mic is at Café Cedar in Parkville, MO. Brian Ruskin serves as host, and he embodies The Gracious Guitar Wizard stereotype. A cast of brilliant performers regularly attend Brian’s open mic, and they all stick around to hear everyone else’s set. Additionally, top-notch, professional musicians will happily sit in on other performer’s songs, filling out the musical arrangement. Great fun is always had by everyone. Here’s the information for Brian Ruskin’s open mic:

Where: Café Cedar, 2 E. Second St., Parkville, MO 64152

When: Tuesdays, 6:30 PM – 9:30 PM

Phone: (816) 505-2233. Call to ensure that the open mic wasn’t canceled on a particular Tuesday night. Also, call to ensure that Café Cedar hasn’t moved to a new location; the owners plan to do so soon.

 Visit Jack Korbel's music website: http://www.jackkorbel.com/
3

By Far, The Seventh Best

In December 2010, my employer furloughed  me for three weeks without pay . “The Great Recession’s impacted our bottom line,” my boss explained.  Temporarily free from the shackles of my soul-crushing day-job,  I hastily organized a three-week, musical tour of coffee houses, open mics and homeless shelters.

Traveling from Wichita, I played open mic nights in Lawrence, Kansas; Kansas City, Missouri; and Columbus, Ohio. Most of the performers at these open mics had no interest in listening to other performers; they went home immediately after playing their allotted three songs. Similarly,  I didn’t experience much success performing coffee house gigs as an unknown artist in Illinois and Indiana: Annoyed college students, cramming for final exams, scowled at me for breaking the silence, then left en masse, grumbling, “Back to the library.”

Discouraged, I drove on to New York City, where I stayed for a week with The Franciscan Friars of The Renewal—a Catholic religious order founded on the example of St. Francis of Assisi, who dedicated his life to God and serving the poor. The previous June, I visited the friars in order to discern if I had a calling to join their ranks as a Franciscan brother. Quickly recognizing that the idea of  living a life similar to St. Francis was far more romantic than actually committing to  a life of poverty and celibacy, I discerned that I should continue on my musical path as a singer-songwriter. On my second visit in December, I hoped to scout the NYC music scene, and spend a week helping the friars serve the poor. This desire to serve the poor wasn’t altruistic or noble on my part; I learned during my first visit to the South Bronx the previous June that, as a “voluntourist”, I gain more from “helping” the poor than they gain from my efforts—a potent antidepressant, without negative side effects.

I arrived at St. Crispin Friary in the Melrose section of the South Bronx as snowflakes began dancing in the halos of the street lights. The friars welcomed me into the friary to pray vespers with them. After evening prayer, Brother Joshua, a young, caucasian friar from South Africa,  approached me. Like all the friars, Brother Joshua wore sandals, a grey habit, and a white cord, tied around his waist as a belt. The three knots tied on the cord represented the Franciscan vows of poverty, chastity, and obedience. Hanging from this cord were rosary beads, with an oversized crucifix. Like the other friars, his hair was buzzed. But unlike the other friars, Brother Joshua maintained a neat goatee; his patchy facial hair wouldn’t allow him to grow a foot-long, unruly beard like most of the other friars. Because he knew that I’m a singer-songwriter, Brother Joshua asked me to perform a concert for the men housed at the friars’ Padre Pio Shelter, located behind St. Crispin Friary.

Brother Joshua gave the homeless men at the shelter the option of either listening to me perform, or watching television—their usual nightly routine. All but one of the men chose to watch television.

Julio (a Hispanic, folk-music-enthusiast from the South Bronx) stood three feet away from me as I began playing. As he swayed to the rhythm of my guitar—eyes closed, face pointed toward the ceiling—his diminutive, emaciated frame reminded me of Giovanni Bellini’s painting of St. Francis in ecstasy. He clapped and cheered in the middle of songs when he enjoyed a particular lyric. After three songs, Julio stopped me. “Jack,” he said, “I’ve gotta tell ya: I have seen a lot, a lot of guitar players in New York City. And you are by far…by far…the seventh best I have ever seen!” After playing another original song, Julio asked if I knew anything by John Denver. When I told him I didn’t, he asked, “Is it okay if I take a quick smoke break?”

I waited for Julio to return from chain-smoking outside, and I was grateful for the enthusiasm with which he listened to my songs.  I recognized that he was (by far) the most attentive audience for whom I’d ever performed.

As this blog post is my inaugural post, I suspect that few eyes will read these words. Therefore, you who read this post, represent my most attentive readership…so far.

Visit Jack Korbel's music website: http://www.jackkorbel.com/