Countdown to 30: My Favorite Album From 2014

 2014

I didn't listen to many new albums in 2014 for a variety of reasons. There were some really good albums released that year, but between working 60+ hour weeks, my grandpa's death, moving and trying to tidy up my mental health, I didn't have much energy left to use on listening to and reviewing a ton of new albums. My year-in-review that year was only about singles. There were quite a few good albums though. Taylor Swift, Lily Allen, Speak, and Ingrid Michaelson all had good releases in my opinion. But my favorites were...

Runner-up number four is Not a Trampoline by Rob Cantor (formerly of Tall Hall). I had the good fortune to review this album ahead of its release, and the opportunity to interview Rob Cantor about the album. Cantor and producer Gregtronic went for a very synthesized '80s sound on the majority of the album. The topics of songs range from the heartfelt ("Ghost," "All I Need is You") to the silly ("Flamingo" and oddly, "In Memoriam," a track in remembrance of the still-living Alan Alda). My favorite song on the album has to be "Let Your Mother Know," tied with a track adapted from a Tally Hall song, "I'm Gonna Win." All of the songs on Not a Trampoline are good. The marketing surrounding the album is also choice, from the unusual album art crafted by Bora Karaca to the viral music videos (the video for "Perfect" has 18 million views and was crafted to appear as though Cantor is doing celebrity impressions whilst singing the song). 

Eric Hutchinson's Pure Fiction is, like much of Hutchinson's work, pretty incredible start to finish. One of the singles, "Tell the World" kicks off the album with a great energy, followed by "A Little More," the power-pop track that acted as another single for the album. After that, the album starts flipping between slow songs and blues-rock jams. "Sun Goes Down" is a fictional account of a man haunted by postcards from his runaway ex. It tells a clear story that is easy to picture from the lyrics. On Pure Fiction, Hutchinson displays his abilities as a writer of story songs, his ability to move smoothly between genres and sounds, and his prowess as a musician in general. 

Miniature Tigers crafted another near-perfect album with Cruel Runnings. There are a lot of '80s synth sounds on this one as well as the Rob Cantor entry, because I guess that's what you did in 2014. Miniature Tigers craft a fantastic synth-laden album, with Brand's lyrics as perfect as they can get. "Used to be the S***" features a fantastic line "Our love was warm like a VHS tape of Aladdin//Now our love's so cold//laser disc of Cruel Intentions." "Swimming Pool Blues" is a perfect pop track. The perfect end-credits song "Oblivious" might be my favorite on the album. Incidentally, not only does "Oblivious" sound like an end-credits song, it also acted as the credits song for the film Sleeping With Other People, for whom Miniature Tigers act as something of a house band. I love most Miniature Tigers albums, but this one is distinctive from their first three for certain. 

We're down to the top two. I had a lot of trouble picking between these two, but my final runner-up is Stockholm by Chrissie Hynde. 

Hynde's songwriting on this album is fantastic. She wrote almost all of the songs with Björn Yttling (of Peter, Björn, and John) who also produced the album. The remaining two songs were penned with Joakim Åhlund (Caesars). They wrote together in Stockholm for two years, inspiring the title of the album. Hynde stated that she was drawn to the music scene in Stockholm, just as she had been to London's punk scene in the '70s. She also said that she attempted to get Yttling and Åhlund to join a band with her, but this was all she could get by way of a compromise. 

Yttling evidently helped in the lyric-writing process by suggesting a title and challenging Hynde to come up with lyrics. He suggested "Dark Sunglasses," and though Hynde thought it cliched, she couldn't argue with the results. I played "Dark Sunglasses" on repeat until those around me were being driven crazy and yet I can still listen to it without it seeming stale to me. I ended up naming it my single of the year for 2014."You or No One" is a romantic tune about finding your person but it's also an earworm. "Down the Wrong Way" is another great song, featuring guitar work from Neil Young. Tennis great John McEnroe contributes guitar to "A Plan Too Far."

Stockholm is highly under-rated in my opinion, as it might be my favorite album Hynde has worked on since Last of the Independents. But another album just barely edged it out of the top spot.

Most people close to me think they understand what kind of music I listen to- power pop, sunshine pop, classic rock, something like that. The truth is, even I'm not sure what exactly I like, and that's how I ended up with my favorite album from 2014 being Tyranny by Julian Casablancas + the Voidz.

Isn't it strange that not one album by The Strokes has made it onto my lists so far, and yet this dark, weird album is my album of the year? For sure! I love The Strokes. For some reason, this Voidz album just hit me the right way at the right time. I may have been in a dark place, I may have been more open to challenging sounds, I'm really not sure what the perfect storm was. Maybe it's that this album is just really good. 

Tyranny doesn't play by any set of rules. There's a throwback quality to it, but it still sounds incredibly modern and new. It's harder than anything else Casablancas has released, yet the guitar can also be bright and cheerful somehow. It's totally unrestrained and there doesn't seem to be any pressure for it to be one thing or another. The freedom of expression and to experiment with sounds on the two Voidz albums definitely contributed to The Strokes' 2020 accomplishment The New Abnormal. 

The first single released from Tyranny was "Human Sadness," which features a sample of Mozart's "Requiem in D Minor." "Human Sadness" is almost 11 minutes long, and is a roller-coaster ride of sounds. The sample is made more haunting through the use of effects. The bassline comes in, followed by Julian Casablancas' vocals which are simultaneously smooth and rough somehow. Through use of effects, his voice sometimes sounds like another synthesizer line. Jarring noises will cut in at seemingly random times, but rather than taking away from the song, they add to it, and enable the instrumentals to break into a more aggressive, jarring tone themselves. "Human Sadness" is actually about Casablancas' relationship with his father, which was a rocky one. 

The second single is the one I preferred, "Where No Eagles Fly." The addictive bassline reminds me of the bassline/verse melody from The Long Blondes' "Swallow Tattoo" (and yes, that's a hill I'm willing to die on). "Where No Eagles Fly" shows off the ability of this music to still be catchy, despite the many varied elements and experimentation. 

"Father Electricity" features a Latin/Caribbean hook. The opening track "Take Me in Your Army" contains heavy synths and vocal effects that create a sense of foreboding. More than any other track, "Army" has a sense of nostalgia to it as well. There is a track called "Nintendo Blood," which could have been the title of the whole album and it would have made sense. 

In 2014 I found my lovely cat, Cowboy.

When this album came out, I was very much keeping to myself. I got an email about it because I was a fan of The Strokes, and on the website they were offering a digital download for $3.87. I downloaded it immediately and was very impressed. I wouldn't even say it was a challenging listen, although you can hear different elements every time you hear the tracks. There's something about it that I find compelling. It is creepy. I played it at my Halloween party the following year, surprising my best friend who didn't expect my sunshine pop tastes to be compatible with Tyranny. She and I got to see The Voidz at El Club in Detroit. Not only was the venue awesome, the show was too. 

I love what the band were able to do on this album. The production is fantastic, the band are positively perfect together, and the songs are weird and wonderful. 

Let's check out that leaderboard.

Join me tomorrow for my favorite album from 2015!

Following in the Footsteps: Queen

What's that? Another new article series? You betcha. "Following in the Footsteps" explores the songs of bands or artists who seem to be carrying the torch lit by a previous band or artist. It's yet another type of playlist featured on One-Mind Tracks (the radio show, not the article series), and you can catch this playlist tonight at 7pm on 97.5 WDIF or streaming online. If you're outside of the timeframe though, let me tell you what you missed.

"Grace Kelly" by Mika
Early on in his career, Mika's voice was often compared to Freddie Mercury, to the point that he ended up referencing the comparison in "Grace Kelly," which definitely has some Queen aires. He wrote this piece about his annoyance with the music industry and their insistence that he change to sell records better, but he also wrote a track about his love of larger ladies entitled "Big Girl (You Are Beautiful)." Does that sound like a familiar concept maybe?

"Old Bike" by Rob Cantor
Not that we're just talking about people whose songs deal with similar ideas to those found in Queen songs (although I did toss that idea around for a bit). Rob Cantor's alma mater band Tally Hall often saw comparisons to Queen as well, but you can't deny the similarities in this glammy track with vocal harmonies in just the right places. If you're doubting the comparison, just hold out for the bridge.

"I Believe in a Thing Called Love" by The Darkness
How about a band that wants to be Queen so bad that they hired Rufus Taylor, the son of Queen's drummer Roger Taylor as their new drummer? Kind of like the way The Who wanted to be The Beatles and so they got Zak Starkey for the touring band (I'm joking of course). But seriously, The Darkness has frequently been compared to Queen, and it's not hard to see why. Or...hear why. Either really.

"Welcome to the Black Parade" by My Chemical Romance
Yeah, I know, it's not 2006 anymore. And I'm sure most people got burnt out on this song so much that they don't want to hear it or think of it as music anymore, and the other half of people are being reminded of the embarrassing era in which they shopped exclusively at Hot Topic and dyed their hair black, but this song is still pretty solid. And it's definitely got some Queen vibes going on, so just deal with it.

"At Least I'm Not as Sad (As I Used to Be)" by fun.
One thing to remember about Queen is that they weren't all arena sound. fun. totally could be, but they also have that other quality that made Queen rad; namely "fun" (even when they're a little melancholic). See also: the acapella intro and vocal harmonies in "Some Nights."

"Starlight" by Muse
I know Muse kind of shot themselves in the foot when they got attached to the Twilight series, but they still have a certain polished glam rock feeling to them. It's like a glam-rocker that wears a button-up coat with a scarf covering any troublesome neck that might otherwise show. You can hear a little heterosexual Freddie in there for sure.

"Brighter Day" by Jellyfish
Jellyfish have a wide range of influences from all over the musical map, and they blend it all up into their own thing. "Brighter Day" is definitely their most Queen-esque track. Although if you're looking to find the lovechild of Queen and The Beach Boys, look no further than "Sebrina, Paste, and Plato."

"Stuck on the Girl" by Young Beautiful In a Hurry
Young Beautiful in a Hurry is a band completely unashamed of the influence Queen has had on them. Lead singer Brendan McCreary has even performed as Freddie Mercury in a Queen tribute show (The Show Must Go On). To find out more, check out the interview I did with him here.

"Unstoppable" by Foxy Shazam
Foxy Shazam are honestly probably the closest match on this list. Upbeat lyrics with an arena sound? Check. Lead singer unafraid of running around in tight pants? Also check.

These tracks can all be found below:

Know some more Queen-esque tracks? Leave a comment!

One-Mind Tracks: Songs of Positivity

It's been a while since the last "One-Mind Tracks" here on No More Blood From a Clone. But the journey continues each week on 97.5 WDIF here in Marion, Ohio and streaming online. Since not everyone can clear the 7 o'clock hour on Thursday necessary to hear the show, here's a throwback to the original days of "One-Mind Tracks."

This week, we're featuring songs with some positive messages and attitudes.

Don't Stop Me Now by Queen
One of my favorite Queen songs, this track is full of positive energy, even if it does seem to wind down in a somewhat melancholic manner toward the end.

I Can See Clearly Now By Johnny Nash
It's hard not to think of this song in a positive light, since not only is it about the rain stopping (usually a metaphor for coming out of depression), but it's ingrained into my childhood. Jimmy Cliff covered it for Cool Runnings, a Neil Finn cover was used in Antz, and even the three blind mice sung it in the Shrek: Far Far Away Idol bonus feature. Incidentally, that terrible joke about the three blind mice isn't as bad when you realize the Neil Finn cover was originally recorded to benefit an organization that treats blindness.

Hold on Tight by Electric Light Orchestra
Soon to be featured in an advice playlist also, "Hold on Tight" encourages us to never let go of our dreams. And that's a darned empowering message.

Don't Stop by Fleetwood Mac
There are too many negative break-up songs, and a few of them can be found as fellow songs on Rumours. But not this one, in which Christine McVie says goodbye to her eight-year marriage with a smile on her face and only thoughts for the future. Bill Clinton used this as his campaign song multiple times, and even convinced the group to reform at his 1993 inaugural ball to perform it.

Don't Worry Be Happy by Bobby McFerrin
The first acapella song ever to reach #1 on the Billboard charts is this easy-going message of positivity. But speaking of what I just mentioned with Fleetwood Mac, and what I've discussed in the past, this song has also been used in a political campaign. It was a slightly less harmonious marriage than the Clinton/Mac one however, when George H. W. Bush decided to use this as his campaign song in 1988. Bobby McFerrin publicly protested the use of "Don't Worry Be Happy," saying that he was going to vote against Bush, and even discontinuing performance of the song to be clear about where he stood on the topic.

Unwritten by Natasha Bedingfield
This song has always reminded me of the very end of the third Back to the Future movie. Aside from that though, and even though it was the most played song in the U.S. in 2006, I love the positive message of "Unwritten." I hope it doesn't end up lost in the entrails of time eventually.

I Am Woman by Helen Reddy
What's more empowering than the track that became the theme song for the woman's movement? Helen Reddy felt there was a need for an empowering song for women and so she decided to start writing "I Am Woman." It was the first song by an Australian artist to hit #1 in America, and the first song written in Australia to win a Grammy.

Everything is AWESOME!!! by Tegan and Sara (Featuring The Lonely Island)
This collaboration between Tegan and Sara, The Lonely Island, and Mark Mothersbaugh bleeds positivity.

Carry On by fun.
My favorite track off of fun.'s sophomore album Some Nights is about strength against adversity. "Carry On" is a power ballad and pop tune that can't be left off this list.

Tubthumping by Chumbawamba
The oft-considered annoying "Tubthumping" drives the point of positivity home. A "tubthumper" is someone who jumps on the bandwagon, and really the song is a political message. But at face value, this song couldn't make me happier.

We Are the Champions by Queen
The be-it end-all of songs about winning, "We Are the Champions" is the champion of positivity songs. It's also the b-side to "We Will Rock You" so...heck yeah!

Find these songs and more on the playlist below:


What song gets you feeling great? I'd love to hear!

Top 14: Singles of 2014

2014 was more about singles than albums. Much as it makes me cringe to think about, it's entirely true. That's not to say there weren't any good albums, but there was nothing that measured up to the top 10 albums of 2013.

So, the year was about singles. In addition to that though, it was about women. Women dominated the charts and the airwaves. We're talking Taylor Swift being the first woman to knock her own #1 single to #2 so she could occupy the two positions simultaneously. We're talking about the sheer variety of female acts topping charts, from the aforementioned Swift to Meghan Trainor, Ariana Grande, Nicki Minaj, Iggy Azalea, Selena Gomez, Tove Lo, and Jessie J, just to name a few! Chrissie Hynde released her first official solo album, Lily Allen and Ingrid Michaelson each put out new albums, and, once again, Taylor Swift broke tons of records with 1989.

While I'm a little sad that there weren't more standout albums, I wasn't entirely displeased with some of the singles. And also, girl power. Anyway, below are fourteen of my favorite singles of 2014.

14. "Earth is the Loneliest Planet" by Morrissey
It was nice of Morrissey to release this track as a single on my birthday. It's also pretty cool to see that he's still got that Morrissey musical sadness. This might even be the best track he's done since the mid-nineties (in my opinion).

13. "Where No Eagles Fly" by Julian Casablancas + the Voidz
From Tyranny comes this gem of a track. The rest of the album was impressive as well, particularly the overall production. I love how perfect all of the visuals are for this Julian Casablancas + the Voidz project, from the videos to this exaggerated retro single cover. If you missed it, you should really check it out.

12. "Foil" by "Weird Al" Yankovic
"Weird Al" Yankovic had his first #1 album with Mandatory Fun this year, and it's no surprise that the album did so well (although it is a surprise that none before have). The original songs and parodies are all spot-on, and even this parody of "Royals," which begins like a run-of-the-mill Weird Al food song, but takes a darker and funnier turn.

11. "I Won't Let You Down" by OK Go
The band that's known for their videos makes some awesome music too. That said, the video for this one is a Busby Berkeley musical number on Honda personal mobility units. I love the inventive way they're always coming up with new things for videos and not just recycling the treadmill gimmick over and over. I also love the touches of the 70s, which remind me of "I Want You Back" by The Jackson 5.

10. "Air Balloon" by Lily Allen
Lily Allen's Sheezus was a lot more hip-hop influenced than I had expected (the title failed to clue me in), but at the same time, the album had a great deal of variety. Take this worldbeat-infused pop tune for example. It's been compared to "Paper Planes" by M.I.A., and you can hear the similarities, but it's also got its own thing going on in an infectious earworm way.

9. "All About That Bass" by Meghan Trainor
While I can't help but agree with opponents of this song, that it isn't as much about body positivity as it seems on the surface, "All About That Bass" is still a winner in my book. Originally offered to Beyoncé, this track became a viral hit for young Meghan Trainor (who is 21). The bold use of colors in the marketing of this song and "Lips Are Moving" (also a hit) give her singles a uniform look, along with the fact that "Lips" references the previous single, saying "tell me that you're not just about this bass." Trainor is a singer-songwriter, and has written singles for several other acts, so she should have no trouble writing for herself.

8. "Be Reasonable, Diane" by SPEAK
You don't need a gimmick to sell a song, but I won't deny that it helps. SPEAK released a game to go along with "Be Reasonable, Diane." I'm sure it's not the first time it's been done, but it definitely works. Meanwhile, I'm perplexed by the recent surge in the name "Diane" in songs. I only know one Diane, and she's my aunt, yet Vampire Weekend also released "Diane Young" (a pun, I know) last year.

7. "Blank Space" by Taylor Swift
The biggest album by a female artist since Carole King's Tapestry, 1989 has been shattering records like no one's business. But this one is more than just a record-breaker in my opinion. "Blank Space" is a playful and mature look at both Taylor Swift's heartbreaks and the way the press treats them. She takes the blame herself as in "I Knew You Were Trouble," but also professes the "we all hurt each other" sentiment as in Ingrid Michaelson's "Girls Chase Boys," and the whole thing has that sort of fairytale feel of her earlier songs ("Love Story"). I just wish the producers had gone for a cleaner sound right before "and I'll write your name."

6. "Tell the World" by Eric Hutchinson
Constantly teetering on the edge of the mainstream, Eric Hutchinson released Pure Fiction this year and, while the tracks weren't as strong as some of his previous ones, songs like this one really stood out. The first single off of Pure Fiction was this feel-good tune, empowering in both sound and lyric.

5. "Girls Chase Boys" by Ingrid Michaelson
Ingrid Michaelson's most successful single since "The Way I Am," "Girls Chase Boys" is both a breakup song and a statement that "no matter who or how we love, we are all the same." She tackled gender inequality and the universal nature of heartbreak in the video for this catchy tune. It serves as both a tribute to Robert Palmer and a fun political statement.

4. "All I Need Is You" by Rob Cantor
Rob Cantor may not have broken the internet, but he sure used some fun new techniques to sell the great songs on Not a Trampoline. With his viral video of celebrity impressions set to "Perfect," and this video made up of gifs, he's like the OK Go of internet memes. And the song is pretty great too!

3. "Uptown Funk" by Mark Ronson featuring Bruno Mars
While I'm disappointed that it's not another Mark Ronson and the Business International record, I certainly can't complain about the quality of this #2 hit. Watch out Taylor Swift, this fast-rising funk and soul track might just de-throne you.

2. "Swimming Pool Blues" by Miniature Tigers
Another great summer-soundtrack tune from Miniature Tigers. The rest of Cruel Runnings is sparse competition for "Swimming Pool Blues," which was definitely one of my favorite songs released all year. I even love the cheesy "underwater" sound editing bridge.

1. "Dark Sunglasses" by Chrissie Hynde
If there's one track I played on repeat this year, it was this one from Chrissie Hynde's very first solo album. I know, it's a fine line, "Chrissie Hynde solo album vs. any other album she's worked on," but man, did this single get it right. You can sing along with the backing vocals, and that cowbell...Totally my favorite track this year.

Interview: Rob Cantor

Rob Cantor has been a musician and songwriter for many years now. As a member of the band Tally Hall he worked on two albums and since then he's been entertaining people with comedic tracks such as "Shia LeBeouf." Mr. Cantor also just released his debut solo album Not a Trampoline, and he was kind enough to share a few words with me about the album and his career in general.

Rob Cantor

No More Blood From a Clone: What are some of your biggest musical inspirations?

Rob Cantor: Like all of humanity, I love the Beatles. I also love the Beach Boys, Queen, Paul Simon, Elliott Smith, Dan Wilson, and many, many more. 

NMBFC: Most people will know you either from “Shia LaBeouf” or from Tally Hall. Are you alright with being known that way, or would you rather have started fresh with this album?

Rob Cantor: I don't think this album is incongruent with "Shia LaBeouf" or with anything Tally Hall released, and I'm proud to be "known" from either of those endeavors. Not a Trampoline has a bit more depth than "Shia LaBeouf," for instance, but it's also not afraid to be silly and stupid at times...I think there's plenty of overlap.

NMBFC: If you had to categorize Not a Trampoline as a particular genre, how would you describe it?

Rob Cantor: The album is pretty varied. Most of it could be called alternative rock, though there are certainly outliers. "In Memoriam," for example, would not work very well on KROQ.

NMBFC: Would you say the tone of this album is: comedic, serious, or whimsical?

Rob Cantor: Yes. All three, I hope.

NMBFC: How has it differed having mostly complete creative control over your work rather than having to share it with a band? Is it harder or easier or just different?

Rob Cantor: Good question. At first, it was terrifying. I was very used to funneling my ideas through a four-man quality control machine. I knew if an idea was approved by the rest of the Tally Hall guys, it must have some merit. When I started working with my producer Gregtronic on this album, there was no such safety net. It was paralyzing for a minute- I second-guessed everything. But after a while, I grew increasingly comfortable with autonomy, and now I really like it. It's a lot quicker, I'll say that...in Tally Hall, ideas might be bandied about for months or years before any kind of execution ever came into being. The same is not true of making a solo album, and the ability to be decisive is quite nice.

NMBFC: Where does the title “Not a Trampoline” come from?

Rob Cantor: The title is factual- this is an album of songs, not a trampoline. Jumping on songs is not only impossible, it's unsafe. DON'T DO IT.

NMBFC: What’s your favorite track on Not a Trampoline?

Rob Cantor: Hmmm...my favorite track seems to keep changing. Early on, it was "Flamingo"- I enjoy the simplicity and the absurdity. At the moment, it's "All I Need Is You." My friend Randall Maxwell and I made a music video for it, and it breathed new life into the song for me.

NMBFC: “Ghost” seems to come from a pretty personal place. Is there anything you can share about it?

Rob Cantor: Ghost is about regrets. We've all got 'em!

NMBFC: Was there any particular inspiration behind the distinct sound on “The Rendezvous”?

Rob Cantor: The sound of "The Rendezvous" was a collaborative effort between my producer Gregtronic and Andrew Horowitz, my bandmate in Tally Hall. Greg and I had an early version that was dancier and less distinctive. It wasn't really fitting with the rest of the songs, and we'd all but discarded it. Andrew heard that early version, and liked the song. He insisted we give it another go. He took the session file and tweaked our arrangement. He added new sounds and took some away- he revitalized the track. When he sent it back, we knew it belonged on the album.

NMBFC: I’m sure some people will recognize “I’m Gonna Win” from an early Tally Hall song. Can we discuss the creative process behind the development of this song into what it is now?

Rob Cantor: We were just trying to do justice to a wonderful song, written by my bandmate Joe Hawley.

NMBFC: What other contributions did you get from your previous bandmates?

Rob Cantor: Andrew Horowitz and I wrote "Perfect" together, and he co-produced the track. He also added production and keyboards on "The Rendezvous." Ross Federman helped write the drum part for "Old Bike," and Joe Hawley graciously let me record his song "I'm Gonna Win." All four of the guys gave me great feedback on the whole album throughout the recording process.

NMBFC: Who is the female vocalist featured on the album?

Rob Cantor: The female singer on "The Rendezvous" is called Madi Diaz. She's a very talented vocalist, and also a great songwriter. She has a new record coming out soon, and you should definitely take a listen. I've heard some of the tracks, and they are super cool.

NMBFC: Is music definitely your career at this point, or is there still a plan b?

Rob Cantor: Music is, and has been for many years, my sole career. There is no Plan B!

NMBFC: That's good to hear. What do you hope the response to this album will be?

Rob Cantor: I hope the response is "HOORAY."


If you'd like to check out Not a Trampoline, it can be previewed and purchased at Bandcamp.

Album Review: Not a Trampoline by Rob Cantor

Rob Cantor isn't new to the music business, but Not a Trampoline is his first full-length solo work. Prior to this, Cantor released two comedic singles, "Shia LeBeouf" and "Christian Bale is at Your Party." Going even further back, he was a member of Tally Hall. It's very exciting to hear what he has to offer with his first album.

Not a Trampoline begins with the deep and dark "Ghost," which seems to improve with each listen. "Ghost" represents a natural step in the progression of Cantor's talent as a songwriter. It works on multiple levels: first as a catchy pop tune, next as a spooky story song, and finally as a philosophical piece. "Ghost" was a great choice for a single, and it's followed by the first single Cantor released off of this album: "Old Bike." I initially believed "Old Bike" to be just an attempt to recapture the success of Queen's "Bicycle Race," but it's really its own piece. The female vocals bring to mind Tom Petty and the Heartbreakers' "Don't Come Around Here No More." "Old Bike" is a lighthearted Cantor track that will be perfect for any bicycling playlist.

"Garden of Eden" is an energetic piece about a Frankenstein-esque creator and his creation. The delivery is beautiful and unique, but the song's failing comes in the ending fade, the likes of which I haven't heard on anything since a 60s album. "Garden of Eden" is followed by "Rendezvous." On first listen, "Rendezvous" is very simple with a dance beat, but the song really works. The vocals Madi Diaz adds to the track help it not only with its complexity, but with the illusion that it could have come direct from the Drive soundtrack.

Next comes "I'm Gonna Win," a song fans of Tally Hall might recognize from the earlier incarnations including "All of My Friends." This final product, credited as written by both Rob Cantor and Joe Hawley is more empowering and with more direction than "All of My Friends," and has more dimension than Tally Hall's version of "I'm Gonna Win." That's not to say it doesn't lose something by being less haunting than "All of My Friends," but overall, "I'm Gonna Win" has been developed into a great song.

Things are wound down for the more acoustic "All I Need Is You." "All I Need Is You" is almost like a lullaby in parts, but picks up in others. "All I Need Is You" wouldn't have been out of place on Tally Hall's Good & Evil, and I wonder if it's a leftover from the years Good & Evil was in production. Either way, it has an outstanding, gif-based music video:

The album continues with "Flamingo," which I could hear as a club dancing song apart from how incredibly bizarre it is, in a very Cantor manner. The narrator states "I feel like I'm a shy enormous pink flamingo man." "Flamingo" gives way to "La Telenova," which is a departure from anything Cantor has produced to this point. "La Telenova" means "the soap opera," and is a collaboration with Jhameel. "La Telenova" is a very modern song, which also features some aspects of 60s folk pop in the melody, 90s pop in the bridge, and latin pop rhythms.

"In Memoriam" is a flowing, melodic tribute to Alan Alda, speaking of his life in the past tense, despite the fact that he's still alive. After "In Memoriam" (which is just over a minute long), comes "Let Your Mother Know." "Let Your Mother Know" is one of the strongest tracks in the latter part of the album. It's upbeat and catchy, and makes you want to move your body.

Nearing the end of the album, "Perfect" is a collaboration with Andrew Horowitz, and features his signature keyboards and sentimentality. Cantor adds his own style to "Perfect," but it's very noticeable that Horowitz had a hand in it.

Not a Trampoline closes with "Lonely (But Not Alone)," another personal-sounding piece, more acoustic than anything else on the album. As a closer, "Lonely (But Not Alone)" is near-perfect, winding the album down to an end.

Rob Cantor has a lot of musical talent, as a songwriter and lyricist, a vocalist and instrumentalist. Not a Trampoline is a great display of these talents. Not every song is perfect, but as a first solo work, Not a Trampoline is incredibly well done. I look forward to hearing more from Cantor and I encourage everyone to check out Not a Trampoline.

Rob Cantor is a singer-songwriter and instrumentalist. Not a Trampoline is his debut solo album.

Not a Trampoline can be purchased here.

Check out my interview with Rob Cantor here!

State of the Music Address: April 2014

This is a new feature for odds and ends, and to give you a preview of what's coming up in music and on Nomorebloodfromaclone. So without further adieu...

-There are quite a few new albums coming out soon:

• April 8th, Eric Hutchinson Tell the World
• April 14th, Rob Cantor Not a Trampoline
• April 15th, Ingrid Michaelson Lights Out
• May 5th, Lykke Li I Never Learn
• May 27th, Miniature Tigers Cruel Runnings
• June 9th, Chrissie Hynde Stockholm

-As such, there have been a few single releases, including Rob Cantor's "Ghost":

-...and Miniature Tigers' "Swimming Pool Blues," the video for which is as perfectly done and humorous as anything the band has done.

-It's going to be a great summer for concerts here in Ohio.

• The Ohio State Fair is featuring Blue Oyster Cult, Bachman-Turner Overdrive, The Beach Boys, Heart, Joan Jett, America, and Aretha Franklin.
• The Monkees are touring again, with the three remaining members.
• Cher and Cyndi Lauper have joined forces for a tour.
• Of Montreal are coming to Cincinnati. I wish they'd do a Columbus date at some point!

-Record Store Day 2014 is fast approaching. fun., Of Montreal, and Deerhoof are all releasing stuff, just to name a few, so I'm excited for April 19th.

-And finally, here at Nomorebloodfromaclone, you can look forward to an exclusive interview soon, as well as yet another "I've Got This Covered." If all goes according to plan, you can expect more frequent updates here in general. Stick around!

Album Review: Hawaii: Part II by ミラクルミュージカル

First of all, "ミラクルミュージカル" means "Miracle Musical" or "Musical Miracle" depending on who you ask. Either way, it's the side-project of Tally Hall guitarist Joe Hawley and includes appearances by most of the other band members. 

Hawaii: Part II begins with the almost holiday-sounding "Introduction to the Snow," in which Hawley employs 1930s-style vocals. "Introduction to the Snow" is a beautiful, yet very short track, which flows wonderfully into "Isle Unto Thyself," a heavily synthesized track. Next is "Black Rainbows featuring a very interesting sound, with melodic vocals by Madi Diaz and baglama played by Bora Karaca. "White Ball" is one of the lesser tracks on the album. Though it does feature vocals by Zubin Sedghi and poetic lyrics, I can't help but feel the female vocalists' talents would be better suited to Broadway.

"Murders" is a strange and dark tune that becomes stronger as a song as it progresses, beginning with simple  piano chords and continuing into an elegant bridge. The vocal also begin rough and become more refined and calm at the end of the piece. "宇宙ステーションのレベル7" or "Level 7 Space Station" is a very different track, with lyrics in several languages and featuring the use of a vocoder. These tracks are followed by "The Mind Electric," which is an altered version of an old, unreleased Tally Hall track formerly called "Inside the Mind of Simon." Both the original track and "The Mind Electric" are excellent pieces with a haunting and interesting story in the lyrics. 

The 8th track is titled "Labrinth," and reminds me of something by Mark Ronson and the Business International, due to a clever combination of somewhat 80s synths, a strong female vocalist (Charlene Kaye) singing eerily, interwoven with beats and rapping by Shane Maux. The rapping, although the center of the song, is done in such a way that even non-rap fans should be able to enjoy the piece. There is a more central use of the vocoder in "Time Machine," which features main vocals by both Hawley and Rob Cantor. "Stranded Lullaby," true to its title, is very much a lullaby, and features an intelligent use of strings. 

The album closes with "Dream Sweet in Sea Major," a bookend to the album, echoing the 30s vocals of "Introduction to the Snow," along with the faint holiday feel. The piece seems to have several movements, all different, but all gorgeous. The end of the album is as harsh as the beginning was gentle. 

Hawaii: Part II is a beautiful and intricate album, featuring a great deal of musicality and talent. Not only is is a must-hear for fans of Tally Hall, but for fans of music in general.

Hawaii: Part II can be found here.

Concert Review: Tally Hall in Pittsburgh, PA

 Photo by Gareth Sedam

Last night marked my third time seeing Tally Hall live, and let me say, it does not get old. Without even realizing it, I selected the second and final dates of this tour to attend. They were lively and wonderful in the beginning, and not any less impressive by the end of their tour. The set list was entirely different for this show (which I imagine was for the sake of their own sanity, but it was a pleasant change for me as well).

We arrived in Millvale/Pittsburgh shortly after 6. The area was unlike any surrounding a venue I have ever seen. It was a tiny village with lots of San Franciscan hills and a converted church theater smack dab in the middle. My brother thought we were going to die driving down the steep brick road Mr. Small's theater was on.

April Smith and Casey Shea were both unable to perform last night, so SleepyV opened up with a very energetic set. SleepyV's lineup included guitar, bass, drums, and trumpet. I have to say, trumpet in a rock/pop band lineup wasn't something I expected. The crowd was very receptive of SleepyV, clapping and cheering even though they were complete strangers to more than half of the audience.

I was afraid for a moment that Tally Hall had gotten too big to do their own sound checks, but they did. I'm not convinced that they will on a future tour, they seem to have collected quite the fan-base at this point. I was in the second row, so I had a much better view at this show than Ann Arbor (not as close as San Francisco though). And it was great. I could swear that Joe was looking directly in my direction, so I didn't take many pictures because it felt strangely rude. They played "Greener," which is one of my favorites (I have many). And once again, they ran "Never Meant To Know" into "Pure Imagination," which I have a very strong love for. Bora sang lead for a verse of "Pure Imagination," and his voice was lovely. They did a legitimate encore this time, they left the stage and everything. When the lights finally came up, I was still hoping it wasn't over.

They came out and met the fans as usual, and I was able to finally complete the signatures on my CD liner notes. This was the first show that I didn't talk to Andrew, which was a little weird for me, but I got his signature at the San Francisco show when he was the only one I got to meet properly because of the limited time Rooney meet-and-greet. Bora did notice, as Andrew did, that I have the "old school" Marvin's Marvelous Mechanical Museum. I hate to shatter anyone's illusions by telling them that I ordered it from FYE in 2009 when I became a fan of them. I didn't really talk to Zubin or Ross because I didn't know what to say. I got a picture with Joe and then after my brother had gotten his ticket signed and I was walking away, he called us back and gave us a hug. I was a little confused by that, in part because I thought he was going for a handshake at first. He told us "And...see you again?" which made me wonder whether he recognized us from Ann Arbor or was just inviting us to future shows. We did stand near him for a really long time in Ann Arbor, waiting to get a picture and then finally giving up.


It was a really great show, with a wonderful audience and a powerful energy that's amazing for any kind of show and surprising for the last date in the tour.

Comparing and Contrasting: Tally Hall Vs. The Bonzo Dog Doo-Dah Band

When quirky modern rock band Tally Hall are being discussed, names like The Beatles, Weezer, Mumford & Sons, Cake and They Might Be Giants get thrown around a lot. No one can quite put a finger on their sound. This is mostly due to the fact that their sound is very uniquely their own. Even through their multi-genre first album (Marvin's Marvelous Mechanical Museum), they managed to maintain a consistent sound and feel, which they really smoothed out for this year's Good & Evil.

 

Tally Hall (left to right): Ross Federman, Zubin Sedghi, Joe Hawley, Andrew Horowitz and Rob Cantor.

However, I must also throw my own two-cents worth into the mix of bands being compared to Tally Hall. From almost the first time I listened to them, they have reminded me of The Bonzo Dog Doo-Dah Band. 

The Bonzos (left to right, top row): Neil Innes, Vivian Stanshall, "Legs" Larry Smith 

(Second row): Dennis Cowan, Roger Ruskin Spear and  Rodney "Rhino" Desborough Slater.

The Bonzos (as I will henceforth refer to them) were a quirky musical group from the 60s. Like Tally Hall, The Bonzos are quite versatile in their styles, while still maintaining a central sound. Similar to the Andrew Horowitz songs on Marvin's Marvelous Mechanical Museum, The Bonzo's utilized lead keys (courtesy of Neil Innes) and Dixieland jazz. Some songs bordered on vaudeville, others almost parodied early Elvis, while others still slid into the heading of "mainstream rock." Several Bonzos songs even have the islander/Jamaican feel of Joe Hawley's "Banana Man."



"Banana Man" by Tally Hall
 

"Look Out, There's a Monster Coming" by The Bonzo Dog Doo-Dah Band

The vibrant personalities in each band also make for a comparison. Tally Hall use their tie colours as nicknames, while Vivian Stanshall christened The Bonzos with nicknames like "Rhino." The Bonzos supplemented their acts with comedic interludes and short skits, Tally Hall had an amusing internet show (Tally Hall's Internet Show). Both groups seem quick on their feet with one-liners.

"The Intro and the Outro"

And whereas The Bonzos performed on British children's show (and Monty Python forerunner) Do Not Adjust Your Set, Tally Hall wrote and sang all the songs in Disney's Happy Monster Band. 

But perhaps the most beautiful similarity between the two groups comes from watching them perform: they both seem to be having a lot of fun playing their music.I'm not saying that Tally Hall has copied The Bonzo Dog Doo-Dah Band. The groups are very different. All I'm saying is, I think fans of one of these bands would feel right at home with the other.

Recommended Tracks:

If you enjoy:

Banana Man by Tally Hall -  Look Out, There's A Monster Coming by The Bonzo Dog Doo-Dah Band

The Whole World and You by Tally Hall - Jollity Farm by The Bonzo Dog Doo-Dah Band

Hidden In the Sand by Tally Hall -  Hello Mabel by The Bonzo Dog Doo-Dah Band

Other recommended Tally Hall tracks:

Good Day

Spring and a Storm

Turn The Lights Off

&

Cannibal

Other Recommended tracks by The Bonzo Dog Doo-Dah Band:

 Metaphorically Speaking

Urban Spaceman

Death Cab For Cutie

Hunting Tigers Out In India

Canyons Of Your Mind