Athens Ear Buds (12-3-09)

Athens Ear Buds is fat and happy so far this month. We had so many held over from last time, and got so many new ones, that we've already got a good start on the Dec. 10 edition. If you don't see yours here, that's what happened. I really try not to hold them over for any more than a week, though as some of our loyal readers may have noticed, I'm not quite perfect.

As always, Haffa's record store on West Union Street is a quick way to get your hands on a lot of this stuff, either through direct purchase or order. - Athens Ear Buds mullah in chief Terry Smith

Brandon Thompson, an Athens native who misses Aladdin's Castle and Silverball and has been living the last 12 years as DJ B-Funk: The Prodigy, "Music for the Jilted Generation" (XL Recordings, 1995). This is the British band's second album, and while "Fat of the Land" is the album for which most people are familiar with its hits ("Firestarter," "Breathe" and "Smack My B***h Up"), this is the album I always recommend to people since it's got the most bang for your buck. The Prodigy is one of the highest-selling dance music acts known for their engaging live acts, which at that time for rave music, was sorely lacking in the scene. It's amazing to think this album is 14 years old because the music still sounds fresh. Standout dance tracks include "Poison" with vocals provided by the second most outlandish member of the group, Maxim Reality. "Voodoo People," "No Good" and "Their Law" provide the listener with in-your-face dance rhythms. But I recommend this album for what Liam Howlett, architect behind the Prodigy, does when he is not focused on the dance floor. The last three tracks, dubbed "The Narcotic Suite," are a 22-minute thrill ride of rhythms and soundscapes that at the time really showed that dance music could be "intelligent."

Dan Dreifort is a self-promoter. He's practicing yoga so as to better toot his own horn. Best Dan Dreifort release of the 21st century so far? That'd have to be "These Curds Don't Run" by Indelible Beancurd. I've heard it too many times, but still maintain a fragile grasp on sanity. Most other listeners likewise are able to avoid extreme mental anguish after repeated exposure. Available locally at Haffa's or online via the usual digital suspects.

Andy Vogel is an OU student who is happy to start this long winter break! Christmas is only around the corner (hence the annoying music everywhere you go), and it's time to start shopping for the family. If you are looking to keep 'em busy with a box set of good ol' country music, then look no further. "Hank Williams Revealed" is a three-disc box set that contains unreleased recordings from the 1951 "Mother's Best Flour Radio Show." The tracks were recorded on acetate discs and shelved away for many years. Luckily, they have been restored and assorted into 50 tracks. Of the 50 tracks on the set, "Cold, Cold, Heart" is a must hear. It is the fist live recording of the performance. Of course, his classics like "Move It on Over," "Lovesick Blues" and "I Hang My Head and Cry" are included. Between the takes there is plenty of dialogue of Williams joking with his group and goofy advertisements for Mother's Best. If you haven't gotten into Hank before, this is a good starting point. If country isn't your kind of thing, then your redneck uncle will dig it!

John McVicker is a local NIMBY: Karen Dalton, "In My Own Time" (Just Sunshine 1971, reissued Light In the Attic 2006). "My favorite singer in the place was Karen Dalton. Karen had a voice like Billie Holiday's and played the guitar like Jimmy Reed." - Bob Dylan. "She is my favorite female blues singer." - Nick Cave. "Without a doubt, she is my favorite singer." - Devendra Banhart. "She sure can sing the sh*t out of the blues." - Fred Neil ... Well, that just about sums it up. I should add, however, that "In My Own Time," Dalton's second and last album, is a work of great beauty and sadness, and that each time I've played it for folks who don't already know her, they say something like, "Billie Holiday singing country? Wow!" and they run out and buy it. You should too. The band was put together by bass player Harvey Brooks (who played for Dylan on "Highway 61 Revisited" and Miles Davis on "Bitches Brew," among others) and features lots of the best players around Woodstock, where the album was recorded. They provide an intimate and supportive setting for a fascinating set of tunes. The album touches base on the songhooks of Doc Watson, The Band, Marvin Gaye, George Jones, Percy Sledge, and my personal favorite, anonymous. She owns every song.

Josh Antonuccio, owner/producer of 3 Elliott Studio in Athens: Elvis Costello, "Armed Forces" (reissued on Rykodisc in 1993; original release in 1979): Elvis Costello and The Attractions produced an antagonistic and cynical pop masterpiece with the illuminating "Armed Forces," with Costello pointing his finger at every aspect of Margaret Thatcher's England, the media-driven modern world, and the nature of men and women at the edge of the '80s. It is a full-on lyrical attack, backed by the pristine piano playing of Steve Nieve and the unstoppable rhythm section of Bruce and Pete Thomas.

Under the direction of Nick Lowe, his production expanded into many new places on this third release with delightful keyboards, aromatic pianos and glorious symphonic rock guitars. This was superb rock and roll, incorporating the best of '60s British Invasion rock, new wave, punk, and '50s American radio singles, even borrowing elements from disco and reggae.

"Armed Forces" did find a smash hit in "Oliver's Army," a tearing commentary on British society, taking its influence from the piano riff on Abba's "Dancing Queen." Other songs such as "Accidents will Happen," "Big Boys" and "Busy Bodies" are reminiscent of the best of Dylan, with Costello emoting equal amounts of disdain and sincere compassion. Of all of Costello's releases, "Armed Forces" remains a favorite, and even more so now with the spat of remastered versions including some fantastic bonus studio and live material.

Tom Daniels, professor of communication studies at OU and bassist for country/folk rock locals, Broken Ring: If anyone had made a bet with me a decade ago that I would become a Merle Haggard fan as I entered my Golden Buckeye years, I would have chuckled and said, "Well, I'll be happy to collect that bet from you in 10 years." But I would have lost because I have been glued for the past two weeks to Merle's "Big City" album. The Bakersfield heritage had come to me indirectly through the likes of Gram Parsons, Chris Hillman and Herb Pedersen, not the real originals like Haggard, Buck Owens and Rose Maddox. As much as I love material by that former group of artists, the latter now really have a hold on me. David McGee, music reviewer for Barnes and Noble, called "Big City" "one of the underappreciated gems in the vast Hag catalog." Underappreciated indeed. Maybe I had not paid much attention because I was always put off politically by one song on the album, namely, "Are the Good Times Really Over?" I'm still put off by that song, but when I listened closely to other tracks such as "Big City," "I Think I'm Gonna Live Forever," "Good Old American Guest" and "You Don't Have Very Far to Go," I realized how ingenious Haggard could be as a lyricist and composer and how consistently solid he was in his day as a vocalist. Ah, well. Never too late to get an education.

Jillian Mapes, freelance music journalist, editorial director of the All Campus Radio Network, booking/publicity assistant at Blackout Booking, journalism student: I'm all up for checking out what's fresh on the music front, but sometimes you miss an album you really should have gotten into much earlier. This is the case with Camera Obscura's "Let's Get Out of This Country" (Merge, 2006). The Glasgow twee five-piece sure do give former producer, Stuart Murdoch of Belle & Sebastian, a run for his money with tunes like album opener "Lloyd, I'm Ready To Be Heartbroken." The song sounds like it's going to be a downer just judging from the opening organ solo, but a whole slew of peppy guitars and vocal harmonies explode into a danceable, yet refined, pop song - a balance that the band perfects throughout the album. I never thought I'd see the day when I use the terms orchestral AND infectious to describe an album, but alas, the day has come.