Archive for Music

That Iconic Scene from “ALMOST FAMOUS” Should Have Been Cringe-Worthy — But Succeeds Spectacularly

I recently read Cameron Crowe’s very entertaining memoir, The Uncool, and it inspired me to rewatch his film, “Almost Famous,” which covers much of the same ground. 

I liked it the second time around just fine. 

There’s a great scene where the band, weary and fractured, rides the bus to yet another town, another gig. The future feels uncertain, relationships feel shattered, youthful ideals crushed. Then Elton John’s “Tiny Dancer” plays and, one by one, the characters come to life, joining in on a group sing-along. 

It’s an iconic moment, an absolute highlight of the film.

And it’s the corniest thing on earth. I mean, on the page, this should not work. It’s so sentimental and sappy and full of what could easily be regarded as false emotion.

Here, take a look:

And to be clear: I absolutely love it, and have remembered it fondly since the film first came out in 2000. 

In fact, I just teared up watching the clip (but, caveat, I tear up over everything). 

In less capable hands, this scene could have been a disaster. Klunky and forced, too pat and tidy. Cringe-inducing.

But again, wow. It’s a home run. It’s everything. 

And it took courage, I think, especially in today’s cold, cynical, skeptical world. That’s kind of Crowe’s strength, actually. He swung for the fences, risked being sincere and earnest and so very uncool — and knocked it out of the park. 

There’s in lesson in this, I think. 

Much credit, too, goes to the song, a masterpiece in its own right. It is exactly the right song. The right idea. Because it is the love of music that unites these disparate characters. Hat tip, Elton John. Hat tip, Cameron Crowe, for pulling this small miracle of a moment in film. 

 

 

 

 

 

 

“City of Heroes” by Billy Bragg, w/ Lyrics

The ghost of Martin Niemöller
Haunts the halls of history
When they came for the communists
He said “It’s nothing to do with me”

When they came for the democrats
He had nothing to say
And when they came for the Jews
He just looked the other way

His silence didn’t save him
When they came for him as well
There was no one to speak out for him
Resistance had been quelled

What excuses would you tell yourself
If this ever happened to you?
Well I live in a city of heroes
I know what I would do

When they came for the immigrants
I got in their face
When they came for the refugees
I got in their face
When they came for the five-year-olds
I got in their face
When they came to my neighborhood
I just got in their face

They use tear gas and pepper spray
Against our whistles and our phones
But in this city of heroes
We will protect our home

When they dragged people from their cars
I got in their face
When they took families from their homes
I got in their face
When they murdered our sister
I got in their face
When they murdered our brother
I still got in their face

In Dachau Martin Niemöller
Suffered for his complicity
But in this city of heroes
We learn the lessons of history

I will bear witness to terror
I will bear witness to tyranny
I will bear witness to murder
I will bear witness to fascism

— Billy Bragg

 

I already hold tickets to see Billy Bragg at Wilco’s Solid Sound Festival in June. It will be a special moment when he delivers this song to an open field, crowded with people.

My 7th Annual “Year In Music” Review: Top 20 & 35 Honorable Mentions.

“In a world on fire,

music is my one sure thing.”

 

I confessed to a musician friend recently that I was spending far too much time organizing my “best of” music list for the year. That it felt self-important and, well, dumb. I’d say that “nobody cares” but, well, here you are. So I’m not alone after all.

And isn’t that the writing life in a nutshell?

Here or not, I’d do it anyway. But thanks for being here. Pull up a crate, there’s chips in the bowl.

Anyway, my friend quickly countered that it wasn’t dumb — it was a reflective way to take stock of the art that made a dent.

So: Blame Eric for the outrage that follows.

I feel like more than ever, music has pulled me through a difficult year. A distraction, a pleasure, an obsession & inspiration. In a world on fire, music is my one sure thing. It might be too much to say that I owe music my life. But it’s not entirely wrong, either. I don’t know. Living without music would be like existing in a world without trees or meadows, birds or clouds, wind or rocks or mountaintops.

The truth is, I’ve been intensely, passionately listening to music since my youngest days, the baby in a family of seven children, in a house filled with records and powerful influences. Weaned (not Weened!) on Dylan and the Stones and whatever else I was digesting in 1966 at five years old. During the birth of rock’s greatest era, I was a sponge soaking up the atmosphere.

A quick word about process: This year, I listened to 598 full-length albums. Starting seven years ago, I began to keep meticulous track. This year, I listened to 168 full albums that were released in 2025. Obviously, there’s a lot I’ve missed. And a lot, assuredly, I didn’t really hear. I am aware that when an album doesn’t connect, the fault is often with the listener. Failing to hear deeply enough, attend thoughtfully enough. My apologies all around.

What makes an album push its way to the front? How does it get on the list? I wish I knew. But when I pretend to know, I say that in art I most admire singularity. The album that only one artist or band could have made, no one else. That feels powerful and original. For the annual list, I also seek a wide range, breadth, because that’s how I listen, a little bit all over the map. 

I’m just a guy, this isn’t perfect. Hopefully you find something new, worth checking out. I love a lot of music, and I enjoyed so much new music that isn’t represented here. Catch me in a month and I’d probably lop five off and urgently add five new ones. 

What follows is my Top 20 and then 35 Honorable Mentions. 

 

 

TOP 20 (in alphabetical order)

 

 

 

 

 

 

 

 

 

Annahstasia: Tether 

Bad Bunny: Debi Tirar Mas Fotos

Beirut: A Study of Loses

Blood Orange: Essex Honey

Laura Cannell: The Visible Light of Other Worlds 

Clipse: Let God Sort Em Out 

Ryan Davis & the Roadhouse: New Threats from Soul

Alex G: Headlights

Geese: Getting Killed

S.G. Goodman: Planting by the Signs

Horsegirl: Phonetics On and On

Salif Keita: So Kono 

Ben Kweller: Cover the Mirrors

Linda May Han Oh: Strange Heavens 

Juana Molina: DOGA @ 2025 

Wednesday: Bleeds

Sharp Pins: Balloon Balloon Balloon

Alan Sparhawk w/ Trampled By Turtles: s/t

Yann Tiersen: Rathlin from a Distance/Liquid Hour

Jeff Tweedy: Twilight Overdrive

 

 

 

 

HONORABLE MENTIONS

 

 

JAZZ 

Fieldwork: Thereupon 

James Brandon Lewis: Apples Cores

Myra Melford: Myra Melford Splash

 

 

 

 

ROCK, INDIE 

Big Thief: Double Infinity

Craig Finn: Always Been 

Robert Forster: Strawberries

Friendship: Caveman Wakes Up

Fust: Big Ugly @ 2025 

Liminanas: Fader 

Cass McCombs: Interior Live Oak

Mekons: Horror

Perfume Genius: Glory 

Joanne Robertson: Blurry

Gruff Rhys: Dim Probs 

Stereolab: Instant Hologram on Metal Film

Wreckless Eric: England Screaming

The Beths: Straight Line Was a Lie

AMERICANA, FOLK, COUNTRY & ALT-COUNTRY 

Sam Amidon: Salt River

Jason Boland & the Stranglers: Last Kings of Babylon

Bonnie “Prince” Billy: The Purple Bird

Tyler Childers: Snipe Hunter

Richard Dawson: End of the Middle 

Florry: Sounds Like . . . 

Greg Freeman: Burn-over

Will Johnson: Diamond City

Hayden Pedigo: I’ll Be Waving . . 

Esther Rose: Want

 

EXPERIMENTAL, AMBIENT, NEW MUSIC 

Wednesday Knudsen: Atrium

William Tyler, Kieran Hebden: 41 Longfield Street

Water From Your Eyes: It’s a Beautiful Place

 

 

 

 

 

 

 

 

 

HIP HOP, R & B, WORLD

Mulatu Astatke: Mulatu Plays Umlaut

Jim Legxacy: Black British Music

Little Simz: Lotus

Rosalia: LUX @ 2025

Songhoy Blues: Heritage

Artists pictured, top to bottom: Annahstasia, Alan Sparhawk, Karly Hartman (Wednesday), Juana Molina, Devonte Hynes (Blood Essex), Laura Cannell, Salif Keita, Linda May Han Oh, Horsegirl, Geese, Clipse.

THANKS FOR STOPPING BY!

Talking to the Bassist from The Vivian Girls at the Woodsist Music Festival

I recently attended a two-day “Woodsist” music festival with my daughter Maggie at Arrowood Farms in Accord, NY. This was our second trip to Arrowood together, nearly a tradition. The first time it poured. We wore heavy yellow rain suits for two days. Despite our sunniest efforts, we felt waterlogged and weary by the end of it.

Not this year!

The weather was a gift, sunny and warm, all weekend.

On Day Two, we enjoyed a set by The Vivian Girls, an all-female rock trio. It was a lively set, full of blistering energy and good vibes. The truth is, it’s still a thrill whenever I see an all-female band. A band that rocks, that takes the stage, and owns it — and just so happens to be made up of women.

Later that day, as sometimes happens at festivals, I was wandering around and saw the band’s bassist, Katy Goodman, standing beside a male friend, presumably her husband. I’m not normally one to approach a celebrity. And if I do, I try to be respectful of that celebrity’s personal space.

 

 

But on this day, I paused and asked, “Hey, do you mind if I say something?”

They stiffened a bit, exchanged uncertain glances, but gave me the nod. It was okay if I said something. Quickly, I gathered.

And so I looked at Katy and said something along these lines:

“I watched your set earlier today with my daughter, Maggie. We both loved it. She’s twenty-four years old and has been playing guitar and singing a lot lately, just loving music in general. And I just want to say that as a father, it was so nice for me to watch her, watch you. For her to see three powerful women rocking out. Thank you for that. It means a lot, really. You’re doing good work.”

And that was that. They thanked me, a little surprised, and seemed genuinely touched.

I didn’t linger, just smiled and drifted away.

Flowers for the living, as the Irish say.

 

My 6th Annual Music “Year In Music” Review: Top 20 & 35 Honorable Mentions

Each year I make an effort to listen to new music. Full, complete albums. And like a nut, I keep track of it. There are lists and files. In 2024, I listened to 137 new albums, frequently more than once, always straight through. Overall, I listened 524 full-length albums.

Of course, I curate and reflect my own bubble. I’d like to think that my palate is more colorful, more inclusive than most. But I surely have my blind spots, weaknesses. This year I haven’t listened to enough world music, for example; and though I like rap, I don’t have a deep knowledge; and I really need to do better with Latin music, which is exploding. And on and on and on. 

I mean to say: this is what I found, what I liked. Albums that hit me, that stood out, that seemed distinctive, original, exciting, “new.” Annually, I keep the list to 55 albums, but this year that meant eliminating a lot of really good music that I loved — but that didn’t, for me, quite make the cut. 

Hopefully, you arrive at this list with fresh ears and an open heart. If so . . . you are my kind of listener.

If I waited another week, or 17 more minutes, the contents here would change. There will be things I’ve missed or over- or under-rated. That’s why I embrace the “nobody cares” aesthetic. It’s liberating. I’m free. I’m not going for perfection. It’s all for fun, folks.

 

 

TOP 20 (in alphabetical order)

 

Being Dead: Eels

Nick Cave & the Bad Seeds: Wild Love 

Waxahatchee: Tiger’s Blood

The Cure: Songs of a Lost World

Sierra Ferrell: Trail of Flowers 

Beth Gibbons: Lives Outgrown

Hurray for the Riff Raff: The Past Is Still Alive

Kendrick Lamar: GNX

MJ Lenderman: Manning Fireworks

Adrianne Lenker: Bright Future 

Laura Marling: Patterns in Repeat 

Peter Perrett: The Cleansing

Phosphorescent: Revelator

Jessica Pratt: Here in the Pitch

Bill Ryder-Jones: lechyd Da

Sturgill Simpson, Johnny Blue Skies: Passage du desir 

Nala Sinephro: Endlessness

Wadada Leo Smith, Amina Myers: Central Park Mosaics 

Vince Staples: Dark Times

Nulifer Yanya: Method Actor

 

HONORABLE MENTIONS (35)

 

EXPERIMENTAL, AMBIENT, NEW MUSIC

Terry Riley & Maya Beiser: In C

Sarah Davachi: The Head as Form’d in Crier’s Choir 

Four Set: Three 

Gastr del Sól: We Have Dozens of Titles

Godspeed You! Black Emperor: No Title As Of . . .

Mk.gee: Two Star and the Dream Police

 

JAZZ

Charlie Ballantine: Love Letters and Graffiti

Ethnic Heritage Ensemble: Open Me, A Higher … 

Amanda Gardier: Auteur.

Charles Lloyd: The Sky Will Still be There Tomorrow

Milton Nascimento, Esperanza Spalding: Milton

Matthew Shipp: New Concepts in Piano Trio Jazz

 

ROCK, INDIE

Amyl and the Sniffers: Cartoon Darkness

Camera Obscura: Look to the East, Look to the West 

Eels: Eels Time!

Father John Misty: Mahashmashana

The Fountaines DC. Romance

Hovvdy: s/t 

Nick Lowe: Indoor Safari

Mannequin Pussy: I Got Heaven 

Gruff Rhys: Sadness Sets Me Free 

Shannon and the Clams: The Moon Is In Wrong Place

The Smile: Wall of Eyes

This is Lorelei: Box for Buddy, Box for Star

 

AMERICANA, FOLK, COUNTRY & ALT-COUNTRY

Dave Alvin, Jimmie Dale Gilmore: Mexicali 

Beachwood Sparks: Across the River of Stars

Naima Bock: Beneath a Massive Dark Land

Bonnie Light Horseman: Keep Me/See You Free

James Elkington, Nathan Salsburg: All Gist

Gillian Welch: Woodland

Yasmin Williams: Acadia

 

HIP HOP, R & B, WORLD

Beyonce: Cowboy Carter

Charli xvx: BRAT 

Chief Keef: Almighty So 2 

Schoolboy Q: Blue Lips

CLICK BELOW FOR YEARS PAST.

I started formalizing these lists, and putting them here, in 2019 when I began my “full album project,” which has been ongoing for six years now. 

 

5th Annual Year in Review . . . 2023

4th Annual Year in Review . . . 2022

3rd Annual Year in Review . . . 2021

2nd Annual Year in Review . . . 2020

1st Annual Year in Review . . . 2019