Orchestra Baobab sings in their native languages (Wolof? Mandinka? and some French) and I’m sure most of us in the audience didn’t have a clue what they were singing about. But that didn’t matter with the easy going groove their music had.

Each song seemed to go on forever as Orchestra Baobab laid down a groove, and kept it going. Between the verses the band would go into lengthy jam sessions, highlighting the musicians’ abilities. The lead guitarist and saxophone player were especially impressive. During one song, the two of them engaged in a delicious musical conversation with each answering the other’s riffs. Even though the songs seemed to go on forever, the music was so good during the two-hour concert (not counting the 15 minute intermission), the evening just flew by for me.

There was one oddity about the show. Throughout the evening audience members near the stage kept handing dollar bills to the band. I have never witnessed tipping at a venue like this before. Sure in a small club, a singer (or band) might have a tip jar, but tipping the band at a theatre-sized venue like the Barrymore? I wondered if this kind of tipping was common where Orchestra Baobab comes from.

I started out this post saying the show was almost perfect for a beautiful summer evening. What would have made it perfect? To hear them outside with a cool summer breeze blowing. I guess the closest we could come last night were the faux stars, twinkling on the theatre ceiling.

Following up their critically acclaimed debut album, St. Elsewhere, must have been a daunting task. Even though there isn’t a smash hit like that album’s “Crazy,” The Odd Couple is a more consistent, and better record.

Many aspects of the album are worth highlighting, but Cee-Lo’s lyrics seem to shine brightest of all. “Blind Mary” takes smart lyrics and mixes them with a beat that’s straight out of Motown.

[Chorus:]
I love Mary. Blind Mary marry me.
I love Mary. Yeah.

She has never seen the sunshine,
Yet she’s getting along just fine.
She’s not staying, she’s just passing through.
Hey, do you mind if I follow you?

[Chorus]

I heard a voice say catch me if you can.
Before you know it I was holding her hand.
It’s harder to imagine than understand,
How she knows exactly who I am.
Yeah.

[Chorus]

She’s my friend, she doesn’t judge me.
She has no idea I’m ugly.
So I’ve absolutely nothing to hide,
Because I’m so much prettier inside.
Yeah.

[Chorus]

My favorite track on the album is “Who’s Gonna Save My Soul,” a very moving song about heartbreak and self-doubt. It it possible to convey emotion through singing better than Cee-Lo’s vocals on this song? I doubt it.

I mentioned the old-school aspect of this album, and “Surprise” is a prime example. With its background “bah ba bah” vocals, percussion, guitar work, and lead vocals, it sounds like it could have been recorded forty years ago.

Whether you file it under old school or neo soul, The Odd Couple is definitely an outstanding album.

Pork and Beans, from their forthcoming “red album” (out June 3).

The opening track, “Lost Verses” sets the tone. It begins with a lone acoustic guitar accompanying the voice of singer Mark Kozelek. As it continues, instruments are added until the end of the song (a 90 second instrumental coda) has a wonderfully layered, full structure of sound.

“Unlit Hallway” is an acoustic ballad that wouldn’t sound out of place on a Nick Drake or Neil Young album, with beautiful guitar (and banjo) instrumentation.

Speaking of Mr. Young, my current favorite on the disc is “Tonight The Sky” which uses a Neil Young like riff as a mantra to keep a memory alive.

Her head lay back in blankets soft white down.
Her hair warm Autumn colours, floating.
Our days were classroom poems, true young love.
Some nights we roar like lions, some we coo like doves.

I left her long ago one summer, chasing dreams.
I hummed good sweet explosions, sweet nothings.
I broke her heart not knowing she’d return,
And graven scars deep in me, forever.

I hear my sleeping sister,
In the early morning hours.
I hear her though it’s silent,
Standing over me now.

Tonight the sky, will open for you.
Mountains and big clouds, divide us in two.

As a lyricist, Mark Kozelek fills the listener’s mind with vivid, emotional images. Another standout track is “Tonight In Bilboa,” a song that reminisces about a past love, and also has beautiful instrumental work.

When I was done I met someone,
She came in from the storm so bright and welcome.
Her friends came and swept her away,
Disappeared like coyotes off on dark high plains.

I looked across the river so still,
Trying to remember,
Where it was last night I laid my head to sleep,
Where the empty night hung heavily over.

I left Bilbao, went to Madrid,
To Barcelona, to Pamplona,
Where every ghost runs in me now,
Haunting me.

Mark Kozelek’s talent for songwriting is first rate. These are not short pop songs either. Their length matches the depth of the emotion behind them. Although most songs on the record clock in at over six minutes, I find I am disappointed when they’re over. I still want more, and maybe that’s the point. On April, the underlying theme is one of longing. The songs go on as if the singer doesn’t want to let go of that feeling. When the album has finished playing, the longing has such beauty I don’t want it to stop either.

The concert began on a somber tone, with Kathleen playing the haunting “Alicia Ross” “Mercury” (from her debut album). She started by herself, accompanied only by her acoustic guitar. As it continued the other band members gradually chimed in, until all five musicians were playing in full force. By the end of the song I knew I was going to be in for a real treat. Just as that thought was in my head, the band confirmed my instinct and launched into the rousing and jangly, “In State,” a song from my favorite Kathleen Edwards album, Back to Me.

Touring to promote her most recent (and excellent) release, Asking for Flowers, Kathleen and her band played some great cuts from that disc. The beautiful title track, the rocking “Cheapest Key” and country tinged, “I Make the Dough, You Get the Glory” were all standouts.

Kathleen Edwards’ songwriting talents are often compared to the renowned Lucinda Williams. A most appropriate reference, although Edwards’ performing style is more intense, and her voice is much more beautiful. All of which were very apparent when the band played “Summerlong.”

I know how to play this game,
One, two, three and I’m safe.
Count real slow to five,
You couldn’t keep me around if you tried.

I know how to beat the rage,
Of my tender age.
Touch me once in the hall,
But don’t look back and don’t call.

There are some things I can hardly say.
You’ve got me feeling a brand new way.
Please don’t let this be summerlong.

I used to play this game,
In the middle lane.
Pass them all on the inside,
And don’t get caught in a lie.

There are some things I can hardly say.
You’ve got me feeling a brand new way.
Please don’t let this be summerlong,
Cuz I want to stay.

Fueled by the masterful performance of lead guitarist (and husband to Edwards) Colin Cripps, the band at times played with a ferocious intensity not unlike Neil Young & Crazy Horse. Evident when Kathleen and her band played “Oh Canada,” a very politically charged song about her homeland. Another example took place during one the last songs of the night, the dreamy, “Goodnight California.” It started slow and somber then morphed into a fierce jam session with Kathleen and her guitarists jamming and trading solos that the crowd just ate up.

But the outstanding moments in the show didn’t all come from rocking jams. “Hockey Skates,” was my favorite of the low-key songs, and another illustration of Kathleen’s songwriting skills:

You can meet me at ten thirty,
I won’t be there, I’ll be gone.
We can talk like we are friends,
Going over it all again.

Talking about everything I am doing wrong,
Do you wish your nose was longer,
So you’d have an excuse not to see past it?
Do you wish the lights were brighter in the city that you live?

I am so sick of consequence and the look on your face.
I am tired of playing defense,
I don’t even have hockey skates.

Watching a video doesn’t quite do the live concert experience justice, but here’s a taste of what I heard last night: Kathleen Edwards and her band performing “Cheapest Key” on the Late Show a few weeks ago.

Thanks for a great show Kathleen (and band). I can’t wait to see you again.

After a good long set of music, The New Pornographers thanked the crowd and left the stage. Here it comes, I thought. It’s such a cliché, the way rock concert encores happen these days.

First there is this long, contrived period of waiting when you know the band is going to come back on stage. But as an appreciative audience member, you feel obligated to keep applauding. Often the band takes so long to return to the stage, you have to stop applauding because the muscles in your arms start cramping up. Then when the band does finally return to the stage, they can play so many songs it’s a second set, not an encore. I’m not complaining about concerts being too long, if a band wants to play a second set of music that’s great, but don’t use that as the encore. Just tell us you’ll be back on stage after a short break.

The geeky librarian in me is compelled to look up the word “encore.” The American Heritage Dictionary has this definition: “A demand by an audience for an additional performance, usually expressed by applause.”

As the encore is now always expected, a real encore only happens if there is a second one. Then you truly know the band appreciated the audience and is willing to come back and play more music.

Getting back to The New Pornographers’ encore last night, it really surprised me when the band returned to the stage after a scant 30 second absence. When people in the crowd started shouting songs they wanted to hear (another cliché I should blog about), frontman A.C. Newman retorted “Whatever you’re yelling out, I promise you this song is waaaaaaay better.”

The band then launched into a fierce cover of E.L.O.’s “Don’t Bring Be Down.” Way better indeed. Next the band performed a killer rendition of one of their classic songs “The Slow Descent Into Alcoholism,” thanked the crowd again, and the show was over.

What a perfect encore. A short wait, an excellent version of a surprise song, and a great song from the band’s back catalog. Now that’s how to end a concert.

• Joe Strummer - Solos, Soundtracks, & Rarities
• Van Morrison - Gypsy Soul (Studio Demos)
• Peter Tosh - Equal Rights Demos 1977
• Crosby, Stills, Nash & Young - 1969-08-26 - Los Angeles
  (the earliest completely recorded CSNY concert)
• Talking Heads - CBS Demos (1975)
• U2 - Pulled The Covers (1979-2006)

The one minor downside of T.U.B.E. is the slightly complicated downloading process.

First you download a text file, which contains the links you need to get the music. Most of the files are available on the file sharing service, RapidShare, where you can download for free, but with limits. Those limits include waiting a few minutes to start the download, and you can only retrieve a certain number of megabytes per hour. I find that I max out the free access after about a disc’s worth of songs, and then I have to wait an hour or so to download more (which can be a little annoying if you’re trying to get a multiple disc bootleg). Traditionally bootlegs have always been something to share among music fans, so I suppose a little patience is a small price to pay for a free download. RapidShare does offer a premium account which can be purchased for unlimited downloads.

The files themselves are compacted in RAR format, so you must have a program that can un-compact RAR files in order get the actual MP3 files. I’m currently using the free program, IZArc, to do the job.

But once you go through all that, it usually is worth it. The files are well documented, and often include cover art. The bootlegs I’ve downloaded have been of very good quality. Every time I check out T.U.B.E., I’m just amazed at the variety and sheer number of bootlegs posted on the site.

My mistress’ eyes are nothing like the Sun.
My hunger for her explains everything I’ve done.
To howl at the moon the whole night through,
And they really don’t care if I do.
I’d go out of my mind, but for you.

I didn’t have enough ambition to mess around with my camera and tripod during last night’s -5 F temperatures, but you can see images of the eclipse from SpaceWeather.com.

The music from this New York quartet should probably be filed under Indie Rock, but as is often the case with good music, it transcends labels.

My current favorite on the album is “Cape Cod Kwassa Kwassa,” a song with borrows heavily from African sounds and rhythms (more specifically Congolese Soukous music and its Kwassa Kwassa dance rhythm).

Other reviewers often mention Paul Simon’s Graceland when talking about this album. Not an inappropriate reference, although Vampire Weekend adds more of a sense of humor to the mix, and maybe a little youthful rebelliousness.

You’ve got to love a band that doesn’t take itself too seriously. When I’m listening to Vampire Weekend the infectious rhythms, afro-pop guitar work, and smile-inducing lyrics instantly put me in a good mood. Something that’s very welcome through this long winter of record-breaking snowfall totals. As proof of the band’s sense of humor, a fun video of A-Punk by Vampire Weekend is available on YouTube (listen to the whole song there too).

The band members of Vampire Weekend are definitely not afraid of taking some risks for the sake of making good music. Another example is the song “M79″ where they add a harpsichord and strings to their indie-rock/afro-pop sound, without taking it too far.

It’s very early in the year, but Vampire Weekend could possibly be the best debut album of 2008. Yes, sometimes the music really does live up to the hype.

What better daydream to have in the middle of a cold and snowy wait for the bus, than being stranded in a tropical paradise with great music?

So here goes. The only rules I have for myself are no “greatest hits” or “best of” compilations. That would be cheating. Some other people limit the number of albums to 10 or 20, but if I can have 20 along on the deserted island, why not ALL of my favorites?

They’re in alphabetical order by artist, because it would be way too hard to rank them otherwise.

• Ryan Adams, Gold
• The Beatles, Revolver
• The Beatles, Rubber Soul
• Bjork, Vespertine
• Burning Spear, Marcus Garvey
• Neko Case, Fox Confessor Brings The Flood
• The Clash, London Calling
• Johnny Clegg and Savuka, Shadow Man
• Crosby, Stills, Nash, & Young, Deja Vu
• Crowded House, Together Alone
• The Dandy Warhols, Thirteen Tales From Urban Bohemia
• Dave Matthews Band, Busted Stuff
• Dido, Life For Rent
• Nick Drake, Pink Moon
• Bob Dylan, Time Out Of Mind
• Steve Earle, El Corazon
• The Eels, Daisies Of The Galaxy
• Enya, Watermark
• The Fugees, The Score
• Peter Gabriel, So
• The Harder They Come (motion picture soundtrack)
• Emmylou Harris, Wrecking Ball
• George Harrison, All Things Must Pass
• John Hiatt, Perfectly Good Guitar
• James, Laid
• Los Lobos, How Will The Wolf Survive
• Bob Marley and the Wailers, Kaya
• Ziggy Marley and the Melody Makers, Spirit Of Music
• Sarah McLachlan, Fumbling Towards Ecstasy
• Midnight Oil, Diesel And Dust
• Robert Mirabal, Music From A Painted Cave
• Van Morrison, Moondance
• Van Morrison, Enlightenment
• Youssou N’Dour, Eyes Open
• New Pornographers, Twin Cinema
• Phish, Billy Breathes
• P.M. Dawn, Jesus Wept
• The Pogues, If I Should Fall From The Grace Of God
• The Police, Reggatta De Blanc
• The Police, Synchronicity
• The Pretenders, Learning To Crawl
• R.E.M., Document
• R.E.M., Automatic For The People
• Robbie Robertson, Music For The Native Americans
• Todd Rundgren, Something, Anything
• The Shins, Chutes Too Narrow
• Sting, Nothing Like The Sun
• Joe Strummer and the Mescaleros, Rock Art And the X-Ray Style
• Matthew Sweet, Girlfriend
• Talking Heads, Fear Of Music
• Toots and the Maytals, Funky Kingston
• Tragically Hip, Phantom Power
• U2, Achtung Baby
• U2, The Joshua Tree
• Wilco, Being There
• Wilco, Yankee Hotel Foxtrot
• Lucinda Williams, Car Wheels On A Gravel Road
• Neil Young, Ragged Glory

There you have it. My deserted island discs for today. Ask me again tomorrow and it might be different. What albums would you want to be stranded with?