I am not a religious person, but I think I might have sinned the other day, broken one of the commandments on the third stone tablet. You know, the one that Moses, played by Mel Brooks, dropped.
I was at Best Buy only because I wanted to buy the third season of “Family Guy” on DVD. But the shopping trip that had started out with good intentions soon plunged into a fiasco, a debauchery in the world of overpriced aural stimulation.
Simply put, it was the day after payday and I felt like Mr. Moneybags, prancing about town without a care in the world, top hat, monocle and gold pocket watch gleaming in the gorgeous September sun.
I was caught up in the moment and had no cognizance of the fact that I was actually in a fluorescent-bathed corporate hell. Before I knew it, there was a $100 stack of CDs in my hands and some young ne’er-do-well in that god-awful blue-and-gold polo shirt approaching me, itching to see if I wanted to buy a new stereo for my car.
I told him my car was just fine, thanks, and shooed him away before returning to the awful task of putting most of the albums back onto the shelf.
Given the temporarily elevated status of my checking account, I figured it would be OK if I bought just two of the CDs. Three would’ve been too much, but two was perfect. Besides, they were newish albums, so buying them used at Play It Again would’ve been next to impossible.
Actually, buying anything used at Play It Again is next to impossible. Although it feels like I’ve successfully completed a treasure hunt every time I find something worthwhile, I just can’t stand the order-less method of arranging things. If they’re not going to alphabetize, they may as well throw the CDs at you when you walk in the door and let you keep whatever you can catch.
Back on topic, I eventually whittled down my heap of albums until the Kings of Leon’s “Youth & Young Manhood” and Damien Rice’s “O” were declared the champions.
The Kings of Leon followed the increasingly popular path of releasing a debut EP before their first full-length album, and February’s “Holy Roller Novocaine” set the stage for them to make a big splash. By the time “Youth & Young Manhood” was released last month, the Kings had already completed the late-night talk show circuit and been featured in pretty much every music magazine as the next big thing.
Featuring a lineup of three Followill brothers and their cousin and hailing from Nashville, Tenn., the band has garnered comparisons to Southern rock mainstays Lynyrd Skynyrd and the Allman Brothers Band, as they also project a ’70s aura about them — their picture on the album’s cover might cause an illiterate person to wonder how John Bonham is able to do so much posthumous drumming.
The Followills don’t try to hide the fact that all of their influences come from that wonderful era VH1 has taken to profiling recently, and the album’s first track, “Red Morning Light,” opens with “Jumpin’ Jack Flash”-inspired strumming.
The album progresses through “Happy Alone,” “Wasted Time” and “Joe’s Head,” three up-tempo songs perfect for any summer road trip along the Deep South’s U.S. Highway 20. The lyrics are sinister —“Joe’s Head” recounts the story of someone who goes on a bloody killing spree — but straightforward, the hook in “Wasted Time” is, “Time on me is wasted time.”
The next track, “Trani,” is one of only two plodders on the otherwise fast-paced record. This track and the even slower “Dusty” serve to break up the album and make it seem longer than its scant 38 minutes.
On “Spiral Staircase,” Caleb Followill’s already gritty vocals take a turn for the raspier and the result is that it sounds like the lead vocals have been taken over by a grouchy, decrepit 60-year-old who has smoked three packs a day since he was old enough to work a lighter.
The album closes with the title track from the Kings’s debut EP. “Holy Roller Novocaine,” a song with a bouncy, frolicking bass line and lyrics about a philandering preacher that are equally wicked.
I admittedly don’t know much about Damien Rice. A friend put a couple of the Irish singer/songwriter’s songs on a mix CD for me and they were decent enough that I decided to check out his album.
The first thing that I noticed was that the lyrics book was more book than lyrics, a collection of intimate paintings by Rice, most of which ooze Rice’s yearning for the girl they depict.
The songs tend to follow a set formula: Rice sneaks into your ears, strumming along and singing in whispers. As the song continues, his voice crescendos and the backing string section becomes more prominent. The song culminates in a violent fortissimo of both vocals and music and then fades away just as quickly. In “Eskimo,” Rice’s climax is immediately followed by vocalist Doreen Curran exploding into a Finnish operatic solo.
The soft to loud to really loud and back to soft again progression flaunts Rice’s David Gray-ish crooning and, coupled with the intricate string arrangements, provide the perfect soundtrack for a cozy night spent in front of the fireplace.
My only beef with the album is that some of Rice’s lyrics are a bit clichéd; he repeats “I can’t take my eyes off of you” to no end on “The Blower’s Daughter.”
I might have made a mistake in shopping at Best Buy, but there was no mistake in the albums I purchased.