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    06:00PM 03/07/08
  • R.E.M. Accelerate: An Advance Review and Song-by-Song Analysis of the Band's New Album
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Recent Articles By Jason Harper

  • Face the Nation
    We find out what rocked across the country in 2007.
  • The Veils
    6 p.m. Friday, August 31. Off Broadway, 3509 Lemp Avenue.
  • Boo and Boo Too
    8 p.m. Friday, August 31. Lemp Neighborhood Arts Center, 3301 Lemp Avenue.
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    7 p.m. Friday, May 18. Creepy Crawl (3524 Washington Boulevard).
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    7 p.m. Wednesday, April 4. Creepy Crawl (3524 Washington Boulevard).

National Features

  • Houston Press
    "It Was Like an Armageddon Movie"

    For days after Hurricane Rita, a Texas prison was hell on earth.

    By Chris Vogel
  • SF Weekly
    The Candidate

    Our columnist knows Ralph Nader's running mate all too well.

    By Matt Smith
  • The Pitch
    How Not To Be a Rap Star

    First of all, lay off the Ecstasy.

    By Nadia Pflaum
  • Village Voice
    Project Runaway

    What becomes a gossip columnist most?

    By Michael Musto

Evidently, the Walkmen recorded Pussy Cats Starring the Walkmen as a spontaneous send-off to their Brooklyn studio, its building having been slated for demolition. To that we say, "Who cares?" With the exception of a few songs off their past two albums ("The Rat," "Louisiana," etc.), Pussy Cats is the band's best work since their 2002 debut, Everyone Who Pretended to Like Me Is Gone. This is a high-spirited re-creation of a 1974 album by the criminally underworshipped Harry Nilsson. (John Lennon produced it during the latter's "lost weekend" separation from Yoko Ono — i.e., when he came to his senses and finally, albeit briefly, remembered the maxim "bros before hos.") Both this tribute and the original are playful and desperate, baroque and broke, smelling of open windows, dirty bathrobes and overloaded ashtrays. Half the songs are covers, including "Subterranean Homesick Blues"; "Loop De Loop"; "Rock Around the Clock"; and the arresting opener, a weeping-guitar version of Jimmy Cliff's "Too Many Rivers to Cross," on which Walkmen singer Hamilton Leithauser transforms his Rod Stewart gravel driveway into a bed of jagged slate. The centerpiece remains, of course, Nilsson's own "All My Life," an upbeat ditty that brings a greasy, Bizet-like string section into the shenanigans. They call the original the ultimate buddy album of the '70s; the updated version is a pal to lost weekenders everywhere.

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