22861. (Ben Howard) Every Kingdom
22862. (360) Falling and Flying
22863. (Sophie Mil­man) Take Love Easy
22864. (Teruyu­ki Nobuchi­ka) Morceau Read more »

22833. (George Fred­er­ick Hän­del) Jeph­tha [Com­plete Ora­to­rio; d. Creed; w. Ains­ley, George,
. . . . . Den­ley, Oelze, Köh­ler, Gooding]
22834. (Dandy Warhols) Thir­teen Tales from Urban Bohemia
22835. (Sto­mu Yamashta’s Go) The Com­plete Go Ses­sion Read more »

22833. (George Fred­er­ick Hän­del) Jeph­tha [Com­plete Ora­to­rio; d. Creed; w. Ains­ley, George,
. . . . . Den­ley, Oelze, Köh­ler, Gooding]
22834. (Dandy Warhols) Thir­teen Tales from Urban Bohemia
22835. (Sto­mu Yamashta’s Go) The Com­plete Go Ses­sion Read more »

22810. (Andy Horace) Seek & You Will Find
22811. (Zap Mama) Ances­try in Progress
22812. (Liars) Sis­ter­world Read more »

You might rec­og­nize the voice of Mike McCol­gan, for­mer lead singer of Drop­kick Mur­phys in this album. After a stint away from the music scene to work as a Boston fire­fight­er, he came back with a new punk band. DM was sort of an Amer­i­can ver­sion of the Pogues with a bit of Clash mixed in. This band seems to be less celtic-sound­ing. The polit­i­cal lyrics, a kind of nos­tal­gic Boston Southie, AFofL/CIO ambi­ence, are sim­i­lar to those of DM, as exem­pli­fied by the last track, “Unions and the Law.” “You Alone” and the album title track are catchy songs. A punk band is only as good as its drum­mer, and Joe Sirois, for­mer­ly in the Mighty Mighty Bos­stones, is extreme­ly good. The album is a good lis­ten, with no dull patch­es and lots of pro­fes­sion­al­ism, but noth­ing that real­ly grabs me and shakes me. 

When I first began lis­ten­ing to Mozart, the “Haffn­er” Sym­pho­ny #35 (K.385) did not make as strong an impres­sion on me as #36, #38, or #40 did. Now that I lis­ten close­ly to a per­for­mance by Neville Mar­riner, I see that I was not “get­ting it.” It’s not just a suped-up ser­e­nade, though Mozart did use a quick­ly-com­posed ser­e­nade as its basis. It def­i­nite­ly belongs with the “Linz” and the “Prague” sym­phonies as part of a group where Mozart remold­ed the sym­pho­ny from the suite-like pre­sen­ta­tion he had learned from Haydn into the tight­ly uni­fied and log­i­cal form that he was to pass on to Beethoven. The mate­r­i­al is cheer­ful, ele­gant, and dance-like, but the treat­ment is far from friv­o­lous or slight. And, on lis­ten­ing close­ly, I can see all sorts of sub­tle ways in which ele­ments in each move­ment refer to the oth­ers. The end­ing presto, with its sud­den dynam­ic shifts and odd silences, is par­tic­u­lar­ly splen­did, and com­ple­ments the open­ing alle­gro’s arrest­ing begin­ning in a most sat­is­fy­ing way.