By Eric Lochridge

I know the year isn’t over yet, but Christmas shopping is about to resume in earnest so it’s that time again. Below are my picks for the 10 best albums of 2007. These picks are based on my musical taste, which I’ll admit does not in any way qualify as wide ranging. Take a gander.

White Stripes – ‘Icky Thump’
Even though they broke our hearts here in Rapid City by canceling their first-ever show in South Dakota, the White Stripes still get my nod for best album this year. “Icky Thump” is chock full of the eclectic, quirky, creative folk-country-hard rock that the band’s fans love. Not to mention the bagpipes. Here’s to hoping for the White Stripes’ first-ever South Dakota show in 2008. Awesome song: “Conquest.”

Eddie Vedder – ‘Music for the Motion Picture “Into the Wild”’

If there ever was a perfect pairing of film and soundtrack composer, this is it. Director Sean Penn’s adaptation of Jon Krakauer’s book tells the tale of a man who gives it all away and heads as far into the boonies as he can get. In the heat of the Seattle movement in the early 1990s, Vedder longed for a similar exile but has chosen instead to stay among us, for now. Awesome song: “Guaranteed.”

Foo Fighters – ‘Echoes, Silence, Patience and Grace’

After the half hard-rock, half acoustic experiment that was “In Your Honor,” as well as the softly executed “Skin and Bones,” the Foo Fighters return from their gradual slide into I-don’t-know-what and serve what’s probably their best album since 1997’s “The Colour and the Shape.” Awesome song: “The Pretender.”

Kings of Leon – ‘Because of the Times’

From the opening notes, it is clear that Kings of Leon learned quite a bit from its stints opening for U2 and Pearl Jam. The band’s sound is bigger this time out, which gives the Kings more room to rock ‘n’ roam. Awesome song: “Knocked Up.”

Chris Whitley and Jeff Lang – ‘Dislocation Blues’

In 2005, the world was bereft of one of its underappreciated geniuses. Chris Whitley’s music went wherever he wanted to take it – blues, jazz-rock, electronica. But he always torqued the whatever genre he was in with his unique style. “Dislocation Blues” was recorded before Whitley’s spectacular final solo album, “Reiter In.” The biggest surprise, though, may be Jeff Lang. He keeps pace with Whitley song for song, which could stand as a befitting legacy.  Awesome songs: “Ravenswood” (Lang), “Motion Bride” (Whitley).

Smashing Pumpkins – ‘Zeitgeist’

This one came as a surprise for me, because I was never a Pumpkins fans back in the grungy days. Or maybe that’s exactly why I like it. Billy Corgan cranks it back up throughout and seems to have dropped some of the affectations that plagued the band before its breakup. Awesome song: “Doomsday Clock.”

Black Francis – ‘Bluefinger’

Whether he’s going by Black Francis or Frank Black, the former Pixies guru returns re-energized from his foray into Southern rock lite with what is likely to be the nearest thing we’ll get to a new Pixies album. Awesome song: “Threshold Apprehension.”

Dave Matthews and Tim Reynolds – ‘Live at Radio City Music Hall’

Half the fun of going to a live show with Dave Matthews is hearing his odd between-song banter. For this show, there’s some of that, but he also talks about the war in Iraq, making his points without passing judgment either way. The set includes previously unreleased original songs, some well-chosen covers and a keen selection of songs, both solo Matthews stuff and tunes from DMB. Awesome song: “Cornbread.”

Needtobreathe – ‘The Heat’

I was pleasantly surprised at the Hills Alive Christian music festival last summer when I found myself being entertained by a group that, in concert, sounded at various turns like Kings of Leon and the Black Crowes. As an album, “The Heat” sounds like neither of those bands, but Needtobreathe’s nonthreatening approach to faith puts its music into the spiritual mold of U2. Awesome song: “Signature of Divine (Yahweh).”

Chris and Rich Robinson – ‘Brothers of a Feather: Live at the Roxy’

The infamous brothers Robinson strip down the brawny songs of the Black Crowes to their essence. Chris jokes about a new album and draws jeers from the audience when he gives the punchline. But the performance, which includes selections from each brother’s solo work, is so pure, it’s hard to believe that a new album from the Crowes isn’t in the offing. Awesome song: “Darling of the Underground Press.”

  

By Andrew Gorder

When I was a child, I often accompanied my parents to church on Sundays. When we arrived, however, we would go our separate ways; my parents choosing the company of their peers while my siblings and I opted for a hipper, less-threatening religious experience known as “Children’s Church” or “Sunday School” or, even better, “Funday School.”

In Children’s Church, every religious lesson was summarized in 10 to 15 minute segments designed to hold the attention of 20 to 30 kids who desperately wanted to go outside and play, while there was still time. The next day was the beginning of another school week, and yet here we were, attending a scarier (albeit briefer) version of school on our last day of freedom. Listening to Bible stories, memorizing verses and singing church songs were tasks one performed in order to receive eternal salvation…and candy.

Other than the utility of the format, there is little similarity between the Sunday School of my youth and the new, bi-weekly artistic forum of the same name. The event (described as a “laboratory for art”), took place for the first time Sunday night at Barefoot Dance Studios in Rapid City.

 I arrived a bit late and missed some of the performers, but in the hour and a half I spent in Sunday School, I saw and heard some good things. Among them: Acoustic narratives, folk songs, spoken word, poetry, amazing flute solos, dance improv, painting and a stone-faced cover of Lil Mama’s “Lip Gloss.”

Unlike an open-mic, each act was different and interesting in its own respect, and also unlike an open-mic, the audience actually listened. And it was free.

The next Sunday School is slated for 7 p.m. on December 2, at Barefoot Studios, 424 Quincy St. (near the corner of 5th St. and Quincy). If you want to learn more, visit the myspace page here.

Does your eternal redemption hang in the balance? No, but that doesn’t mean you won’t learn something.

 

 

 

By Eric Lochridge

Finding out that the new Eagles album is available only in Wal-Mart stores kind of puts a new twist on the old “Hotel California” lyric: “You can check out any time you like, but you can never leave,” doesn’t it?

 

By Ryan Woodard

As promised, here are some photos from Tuesday night’s Ozzy Osbourne/Rob Zombie show. Ozzy’s people wouldn’t let us shoot his portion of the concert, so we just have photos of the first two acts. Photos were shot by RCJ photographer Seth McConnell.

I neglected to mention opening band In This Moment in my original entry after the show. I only caught a couple of the band’s songs, and they seemed fairly average as far as metal groups go.

Here’s a photo of their lead singer:

The group was pretty heavy, and the lead singer was screaming and head banging throughout their set. She wasn’t wearing you’re typical heavy metal screamer-type outfit.

Here’s a picture of the group’s bassist:

After a short break it was time for Zombie. Just as he did at his prior civic center appearance, Zombie and his crew came out in skeleton masks.

Zombie’s bass player:

Here’s spooky looking guitarist John 5:

And some photos of the main man, Zombie:

 

Zombie and Ozzy each played for well over an hour, and although I didn’t keep the exact time, Osbourne’s seemed to be at least an hour and a half. Both acts were pretty intense - and loud.

Zombie’s set was a little bit more striking visually. The rocker/horror movie director appeared out of a huge devil’s head amidst a big plume of smoke. The head also doubled as  perch for his drummer to sit on during the show. Zombie started off with “American Witch” off his latest album of studio material, “Educated Horses.” He proceeded to play hits from the White Zombie days, as well as songs from his career as a solo artist. That included “Living Dead Girl,” “More Human Than Human,” “Dragula” and “Superbeast.” The show resembled his last effort at the civic center, but this one featured some pretty impressive pyrotechnics and other effects.

Zombie also used a couple of large screens behind him to show some disturbing imagery, including an extended scene from his movie “The Devil’s Rejects.” But what else would you expect from a horror movie director?

Osbourne’s show was long, and he put forth considerable effort. It was apparent that the aging Prince of Darkness, who obviously doesn’t need to be touring arenas to make some extra cash, was out to entertain. He was big on getting the crowd involved, and although some of his moves on stage were a bit awkward (probably due to his age), it was obvious he just wanted people to have fun. Osbourne got extreme enjoyment out of spraying the crowd with foam from a large hose, and throwing large buckets of water on stage.

Ozzy and his band played a number of the hits he has had over the years, including “Mr. Crowley,” “Bark at the Moon” and “Crazy Train.” The encores were “Mama I’m Comin Home” and “Paranoid.”

He apparently needed a break about halfway through the set, because guitarist Zakk Wylde proceeded to jam on his guitar for at least 10 or 15 minutes, going from speaker to speaker and ripping off extended solos. I don’t think the audience minded the guitar intermission, because Wylde is pretty amazing with the instrument. 

Judging by the comments that were posted since my first entry, it looks like many concertgoers had a good time. Like I said, I think the Ozzman came out to put on a show, and did just that. And Zombie pulled out a few more frills for those of his fans who came back to the civic center to see him again.  

 

 

By Ruth Milne

If they ever were, that is.

Did anyone else catch the Sex Pistols on two late-night shows this week? If you didn’t, the videos are probably online somewhere.

All I can say is, how sad was that?