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USER: jules USER TYPE: Reviewer ARTIST: Toshi Reagon SONG/ALBUM: The Righteous Ones GENRE: R&B RATING: 6
Toshi Reagon poses with an acoustic guitar on the cover of The Righteous Ones, and why not? She is a folk singer, after all. Of course, she's also a blueswoman, funk-rocker, gospel belter and much more. Reagon's previous album had been on Smithsonian Folkways, the label of scholarly folklorists in her native Washington. This one is on Razor & Tie, a label that specializes in roots-rock. Both are appropriate homes for a woman who's just as comfortable performing with Pete Seeger, Lisa Loeb, Chaka Khan, or Lenny Kravitz. Reagon has confidently combined all these styles, and doesn't care to label the result. "I take whatever I'm really into and try to learn it and put it into music," she says. On The Righteous Ones, Reagon segues easily from the earthy "Sweet In The Morning" into the ethereal "Yes It Was" and then the funky, bass-heavy "Drive It Home." Her versatility makes these transitions seem natural.
The daughter of Bernice Johnson Reagon, founder of Sweet Honey In The Rock, Reagon was raised with that group's brand of a capella gospel and political consciousness. Her own politics, however, are seldom explicit. "From who you are in your everyday life, that's where you make change," she notes. "Can you sing freedom with me one more time?" Reagon asks in "There Are," but most of these songs are about human relationships, and transcend ideology. In "Real Love," she sings about finding the "unbelievable trust and lust" that is "all that matters here." In the exuberant "Happy And Satisfied," she's found it. Co-produced by Reagon and her longtime guitarist Adam Widoff, The Righteous Ones has a rich, fully realized sound. The album accomplishes the singer's foremost goal, which is to make an album that captures the sheer joy of her widely-heralded concerts. "When people are immersed in a live performance, they're not concerned with trying to figure out what the music is called," she explains. "I want people to hear my albums that way too, just to be a part of the experience and enjoy it."
Posted October 27, 2006 2:31 PM | | |
USER: jules USER TYPE: Reviewer ARTIST: Laura Love SONG/ALBUM: Octaroon GENRE: R&B RATING: 7
There's an old joke in which a musician asks how to get to Carnegie Hall (the punch line of course is "practice, man, practice"). For Laura Love, however, getting to Carnegie Hall was the easy part. In a nervy move, the Seattle singer came out solo on that venerable stage at a songwriters' festival in 1994. She had only her instrument, which happens to be electric bass. If there was skepticism, it quickly evaporated. Love had attracted another group of converts to her unique "Afro-Celtic" style, and in the audience was the man who would ultimately get her a major-label record contract. On the resulting album, Octaroon, Love expanded on the style of the three discs she had released previously on her own independent label. She's accompanied this time around by a three-piece band, though she’s not afraid to go it alone, as on her impressive cover of "Come As You Are," by another Seattle luminary, Kurt Cobain. On a version of the traditional "Blind Bartimus," her voice is accompanied only by her own hand claps.
There's a lot of territory between Nirvana and traditional gospel tunes, and Love travels it without looking back. The opening track, "Bad Feeling," incorporates a bit of Sly and the Family Stone funk, while "I Am Wondering" briefly turns into Rodgers and Hammerstein's "The Surrey With The Fringe On Top." At times, Love can sound a bit like Tracy Chapman, but her stylistic reach is far wider. Love is candid about the more difficult experiences of her life. Crediting music with rescuing her from a life of petty crime, she jokes, "Now when people ask me about my record, I can reasonably assume they're referring to my music." Love sings about hard times, but with a joy that insists one's difficulties can be put in the past. When she sings "Amazing Grace," it's with the conviction of someone who seems to have found it.
Posted October 27, 2006 2:21 PM | | |
USER: jules USER TYPE: Reviewer ARTIST: Marshall Crenshaw SONG/ALBUM: #447 GENRE: Rock RATING: 6
Parenthood, moving back to New York City and Yogi Berra were among the things that most inspired Marshall Crenshaw's #447. Those might seem an unlikely collection of influences, but they led to the roots-rocker's best album to date. The Detroit-bred singer/songwriter, who began his career by playing John Lennon in Beatlemania on Broadway, made #447 the same way he made each of his previous albums: he played virtually all of the instruments, turning to other musicians only for occasional embellishment. Crenshaw's goal was a live-in-the-studio sound, captured with vintage equipment. Still, he's no purist. "I think that right now is a really good time to be making records," he said on the heels of this recording, "because you've got a whole century's worth of recording technology to pick and choose from."
Among the guest musicians are pianist David Sancious and saxophonist Paul Shapiro, whose presence illustrates Crenshaw's growing interest in jazz. Such instrumentals as "You Said What?" and "Eydie's Tune," both originally written for a documentary about Yogi Berra, find a cool groove that's fresh yet rooted in tradition. "I'll never be a jazz musician," admits Crenshaw, who describes his jazz guitar playing as "Bill Frisell with two broken fingers." Crenshaw fans needn't worry, however, that he's lost his gift for sparkling pop-rock songs that combine the directness of early rockers like Buddy Holly with grown-up sentiments. In the rollicking "Tell Me All About It," he confronts a straying lover by noting that "People can hide things up their sleeves / Even when naked." The title of the radiant "T.M.D." stands for "truly madly deeply," but romantic love isn't the only emotion motivating these songs. "Ready Right Now" is a bluesy, minor-key introspection about the responsibilities of fatherhood. Despite such adult topics, though, Crenshaw hasn't changed his classic sound.
Posted October 27, 2006 2:10 PM | | |
ARTIST: John Hammond SONG/ALBUM: Wicked Grin GENRE: Blues RATING: 8
Wicked Grin by blues veteran John Hammond raises a question that’s likely to linger for a while: Why did it take so long for Hammond to devote almost an entire album to the songs of Tom Waits? After all, it’s not as if Hammond and Waits just got acquainted with each other. They’ve been friends for more than thirty years. And it certainly doesn’t require an advanced degree in music to detect the artistic sensibilities they share. Advantages of hindsight aside, it seems that someone should have thought of teaming up Hammond and Waits in the studio decades ago. But better late than never. As it happens, it was their spouses who finally suggested the making of Wicked Grin, a truly inspired collaboration that ranks with the finest recordings Hammond and Waits have made in their respective careers.
Hammond’s raw, impassioned vocals and Waits’ dark yet vivid imagery complement each other so well -- so naturally -- that nearly all of the songs on Wicked Grin sound as if they were specifically composed for this session, when in actuality only one of them was (the country-tinged "Fannin Street"). Understandably, Hammond wasn’t entirely comfortable with the idea of interpreting Waits’ songs prior to the sessions, even though they’ve worked briefly together in the past. While Hammond’s specialty has always been traditional country and urban blues, often stripped to the guitar-and-harmonica essentials, Waits’ pulp fiction songbook doesn’t adhere to conventional blues forms or always lend itself to solo, guitar-driven performances. Yet with the help of Waits -- he produced the album and offered plenty of encouragement -- Hammond has again proved his mettle by soulfully tapping into the essence of Waits’ literary creations -- the unforgettable characters and intriguing scenarios that make his songs so distinctive and compelling. Hammond is supported in the studio by several first-rate musicians, including Waits, keyboardist Augie Meyers, and harmonica legend Charlie Musselwhite. Together, they create a series of sparse yet evocative arrangements that clearly inspire Hammond's vocals and guitar work, allowing him to explore Waits’ netherworld with genuine and sometimes chilling success. Posted October 26, 2006 4:40 PM | | |
USER: improv USER TYPE: Reviewer ARTIST: Bill Evans SONG/ALBUM: The Last Waltz GENRE: Jazz RATING: 9
Looking back now on how pianist Bill Evans spent the last months of his life in 1980 -- his liver failing and his dependency on drugs exacting an ever-increasing toll on his health -- one might reasonably assume that this 8 CD box set, which comprises his last concert recordings, would provide little more than a poignant postscript to a remarkable career in jazz.
Nothing could be further from the truth. As those who were fortunate enough to hear Evans play in clubs during this period know, his artistry and concentration somehow seemed impervious to the troubles that afflicted him offstage. The famed "Evans-like touch," which by then had already become shorthand in jazz parlance for lyrical grace and harmonic finesse, was still very much evident, refreshing vintage pop and jazz ballads in subtle or surprising ways and infusing original material, both old and new, with a questing spirit and deeply felt emotions. By all rights, Evans should have been playing nothing but major concert halls in his later years. His credentials, after all, placed him in the highest ranks of jazz. Though best known for his highly influential stint with Miles Davis’ band in the late ‘50s circa Kind Of Blue, Evans distinguished himself in the company of a broad array of jazz and pop musicians, including Charles Mingus, George Russell, and Tony Bennett. On the The Last Waltz, we find him exploring and sometimes re-inventing a mostly familiar repertoire with the intuitive support of bassist Marc Johnson and drummer Joe LaBarbera. While the template for these intimate performances at Keynote Korner in San Francisco was created some twenty years earlier, during Evans’ landmark collaborations with bassist Scott LaFaro and drummer Paul Motian, the trio format continued to fuel the pianist’s imagination and yield fresh ideas. As a result, there’s not even a whiff of rote recitals among these 65 tracks, even though Evans had performed "Waltz For Debby," "Nardis," "Emily," and "The Touch Of Your Lips," among other favorites, countless times. As Derk Richardson points out in his informative liner notes, Evans didn’t seek to stretch out so much as dig in. He was convinced that by constantly mining the possibilities of trio performances, he’d find more than ample artistic rewards. He was right, of course, and with The Last Waltz he bequeathed to us yet another volume of extraordinary music. Posted October 26, 2006 3:52 PM | | |
ARTIST: Vigilantes of Love SONG/ALBUM: Audible Sigh GENRE: Rock RATING: 7
“You can go to sleep in hell and wake up at heaven’s gate,” sings Bill Malonee on Audible Sigh. A hard-won lesson in life’s vicissitudes? No doubt. For nearly a decade, the Athens, Georgia-bred Vigilantes of Love saw more than their share of ups and downs -- high praise, low fees, small labels and distribution deals, promising signs of rising popularity, and frustrating reminders of mainstream resistance. But none of that affected Malonee’s skills as a songwriter, which have always allowed him to bring a rare level of intelligence, humor, passion and compassion to his music. Those virtues are evident on Audible Sigh, an album so full of keen-eyed observations and sly turns of phrase that it effectively demands repeated listening. Certainly Buddy Miller, a longtime fan and occasional guest Vigilante, was on to something when he said of Malonee: ”The poetry and intelligence of his songs rival Dylan’s.”
Anyone looking to substantiate that claim should check out "Resplendent," one of the stand-out tracks on this often overlooked album, with Malonnee and Emmylou Harris vividly conjuring up the dustbowl depression era. Conjuring up the ghosts of Steinbeck and Guthrie, he begins with this typically concise verse: “I remember the dark clouds, raining for days on end/ blew all the earth out to California/ and just left us here with the wind.” Other well-wrought songs informed by Malonnee's strong but unsentimental trust in faith, include the sardonic "Could Be A Lot Worse," the searing but ultimately comforting "Goes Without Saying," and the deeply personal "Nothing Like A Train." Posted October 26, 2006 3:44 PM | | |
ARTIST: Jeff Beck SONG/ALBUM: You Had It Coming GENRE: Rock RATING: 7
Any fan of guitar legend Jeff Beck would have been surprised, even shocked, by rumors of Beck going "techno." Yet when the sound first caught the rock icon's ear in London dance clubs in the late '90s, in the percussive thrust of Prodigy and Fatboy Slim, he soon began plotting his own variation on a techno theme. Perhaps remarkably, the result became 1999's Grammy-nominated Who Else. What Beck found fascinating about the London club scene was the so-called "bottom line" -- the rhythmic force that underpinned the music and often compensated for trite lyrics and otherwise unremarkable mixes. Indeed, Beck, who normally took long breaks between recordings during his prolific career, was so drawn to the drum-driven techno sound that he returned to the studio to experiment further with its fundamental rhythmic structure. The impressive result can be heard on You Had It Coming, a brash and still unlikely fusion of guitar wizardry and contemporary beats.
Anyone looking for proof that Jeff Beck, a Rock ‘n’ Roll Hall of Famer with the Yardbirds and an immensely successful solo artist, is open to new musical ideas will unquestionably find it here. Beck’s studio work for this album was mostly a solo affair -- or at least it was once producer Andy Wright decided that the sounds of Beck improvising over sampled loops assembled by programmer Aiden Love offered more than enough creative possibilities. Despite this insular approach to recording and the obvious techno influence, the music on You Had It Coming doesn’t sound premeditated, canned, or phony. On the contrary, Beck often sounds as if he’s responding to the loops in spontaneous bursts of drama ("Earthquake") and lyricism ("Nadia"). And despite the reliance on electronics, several tracks reveal Beck’s roots in blues and rock without apology or interference. The lone vocal track, in fact, finds Beck and British singer Imogen Heap passionately reprising the Muddy Waters hit, "Rollin’ and Tumblin." There’s also something old-fashioned about the way Beck employs the basics on these sessions, such as his trademark Stratocaster and Marshall amps, that prevents his brief romance with techno from ever sounding impersonal or insincere. Posted October 26, 2006 3:27 PM | | |
ARTIST: Dar Williams SONG/ALBUM: End Of The Summer GENRE: Pop RATING: 7
Dar Williams' End Of The Summer was the start of something big for the then thirty-year-old singer-songwriter from New York. Big, vibrant and colorful, the album leaves a lasting impression. Having first made a name for herself in folk music circles as a performer with a flair for writing intimate, witty, provocative songs, Williams has managed to negotiate the transition from coffee houses to concert stages without compromising her craft or losing her core following. End Of The Summer affirmed her artistic growth, and her growing commercial appeal, with an expansive, band-driven sound that seemed to orchestrate her passion, poetry and even playfulness while marking a clear departure from her early days, when she made her strongest statements in sparse settings, using little more than her warm and supple voice to get her message across.
But then, Williams has always viewed the "folksinger" label, which has often been applied to her music, as a complement, not a constraint -- not unlike, for example, Bob Dylan or Shawn Colvin, a couple of other "folkies" who successfully made the transition from folk to pop. Besides, as Williams' cover of the Kinks’ "‘Better Things" attests, she's no stranger to rock, with its insinuating history and hunger for instant gratification. Perhaps this is why Williams sounds so comfortable in this new setting, collaborating with such luminaries as guitarist Bill Dillon (best known for his work with Peter Gabriel), multi-instrumentalist Larry Campbell (whose credits include work with Dylan and k.d. lang) and several other musicians who helped create a series of richly textured, sometimes rhythmically propulsive, arrangements. Still, Williams never loses sight of the fact that she is, first and foremost, a storyteller. Also recommended: Dar Williams - Out There Live, The Beauty of the Rain, My Better Self. Posted October 26, 2006 3:00 PM | | |
ARTIST: Natalie Merchant SONG/ALBUM: Live In Concert GENRE: Pop RATING: 8
Sometimes success isn't all it's cracked up to be. Not even the kind of multiple platinum success that Natalie Merchant enjoyed as a solo artist following her split with 10,000 Maniacs in 1992. Being in a band, she once famously observed, "was like having five husbands." As Merchant's popularity grew, she was thrust into performance settings that occasionally compromised her music and blunted her personality. She may look like she's perfectly comfortable performing in rock arenas, twirling on stage as if buffeted by abruptly shifting sonic winds; but in truth, her insinuating alto deserves to be heard in much smaller venues that flatter the human voice.
All of this no doubt had something to do with why Merchant chose to record her first live solo album, Live In Concert, at the Neil Simon Theater on Broadway. It doesn't hurt, of course, that the songs Merchant chose to perform here reflect both her sense of balance and adventure. Certainly her reputation as one of the great pop eccentrics won't be diminished by her choice of cover tunes, a deliberately odd assortment of familiar and obscure ballads that includes David Bowie's "Space Oddity," Neil Young's "After The Gold Rush," and Katell Keineg's "The Gulf of Araby." And just as surely, many fans looking to hear Merchant reprise some of her solo hits in a looser, more spontaneous fashion won't be disappointed by her performances of "Wonder" and "Carnival." Rounding out the collection is a somewhat Maniacal rendering of "Dust Bowl." Appearing with a six-piece band and guest vocalist Susan McKeown, Merchant keeps things simple and soulful, a sharp departure from her previous studio album, the high concept Ophelia. This time around the change of pace and venue allow Merchant to be herself in a way that clearly would have been impossible in a studio or a large amphitheater. Small wonder she sounds as though she's enjoying herself in these performances almost as much as the audience. Also recommended: 10,000 Maniacs, Unplugged; Natalie Merchant, Tiger Lily; Natalie Merchant, Ophelia. Posted October 26, 2006 2:40 PM | | |
ARTIST: The Jayhawks SONG/ALBUM: Smile GENRE: Pop RATING: 7
Lets face it. The very notion of the Jayhawks, those seasoned and justly acclaimed roots rockers, collaborating with producer Bob Ezrin, best known for his work with Alice Cooper, Kiss, Pink Floyd and Lou Reed, is a bit hard to contemplate. What good could possibly come from such an unlikely alliance? The answer, in a word, is Smile, the Jayhawks’ sixth and most ambitious, accessible and revealing release. This is country rock writ large, brimming with lush harmonies, lustrous guitar lines and enough melodic hooks to keep you humming long after you've heard it. Longtime fans don’t have to look hard for familiar pleasures, whether enjoying the still firmly-rooted arrangements, or the smart, often evocative lyrics. But Smile has such a broad stylistic scope, it’s probably far more likely to appeal to a wider audience than anything the band released previously.
As it happens, the Ezrin connection isn’t all that odd when you consider that the Jayhawks front man, singer-songwriter Gary Louris, recalls Alice Cooper’s Killer as a core holding in his early record collection, or that the Jayhawks were ready for a change of pace after the low-key Sound Of Lies in 1997. “We tried to make this more of a rhythmic record,” says Mark Perlman, bassist and cofounder of the quintet. “We found a kindred spirit in Bob. We wanted people to lock into each song a little more subconsciously and immediately. We wanted to be more direct.” True to form, Ezrin seems to have offered plenty of advice. After the band sent him a tape of fifty songs, he apparently responded with a three-page letter outlining what needed to be done for the band to make the most of its material. According to Louris: "He forced me to do the nuts-and-bolts, hand-wringing, pacing-the-floor work to get every line to mean something.” Posted October 26, 2006 2:15 PM | | |
ARTIST: Shawn Colvin SONG/ALBUM: Whole New You GENRE: Pop RATING: 7
It would have been hard enough for Shawn Colvin to record a worthy successor to her 1996 Grammy-winner A Few Small Repairs if she had spent the intervening years exclusively focused on her singing and songwriting. But concentrating on music wasn’t a luxury she could afford, not after marriage and motherhood came to dominate her life. These life-altering changes had a profound effect on Colvin when she and producer/co-writer John Leventhal re-teamed to record Whole New You. Suddenly, Colvin discovered that nearly everything that came together so naturally during the sessions for A Few Small Repairs was now a source of frustration. The lyrics weren’t flowing, the vocals didn’t sound right, and both she and Leventhal (himself a new father at the time) soon found themselves suffering from sleep deprivation. In time, the frustration gave way to inspiration, and Whole New You, though not a sharp departure from its predecessor, began to acquire a shape and personality of its own.
Listeners who are fond of the folk-pop intimacy Colvin and Leventhal have become known for will be quite happy with this collaboration. The arrangements, centering on acoustic and electric guitars, are lean yet textured; and several introspective and dreamy ballads are nicely framed by buoyant pop ("Whole New You") and rock ("Bound To You"). Not surprisingly, some of the most interesting lyrics concern shifts in lifestyle and perspective. "A Matter of Minutes" underscores the anxieties that arise from sudden life changes and new responsibilities, while "One Small Year" examines the passage of time, and how it can play unnerving tricks on us. Some of the same themes are addressed on "Another Plane Went Down," albeit in a more startling fashion. A prime example of how Colvin and Leventhal complement one another in the studio is "Bonefields," which weds surreal lyrics about isolation and despair with an engagingly bright, colorful arrangement. A pair of memorable fictional characters --"Roger Wilco" and "Mr. Levon" -- help round out the CD and further attest to the power of Colvin’s undiminished imagination. Posted October 26, 2006 2:03 PM | | |
ARTIST: Merrie Amsterburg SONG/ALBUM: Little Steps GENRE: Pop RATING: 7
Merrie Amsterburg knows how it feels to inspire comparisons. Shawn Colvin, Tori Amos, Aimee Mann and Jane Siberry are just a few of the female artists whose names have been invoked by pop critics in search of either an emotional or stylistic link with Amsterburg’s music. As flattering as these references are, though, they tend to negate the one virtue that sets Amsterburg apart from the pack -- an original voice. Or perhaps “voices” is more like it, since Amsterburg’s writing is every bit as distinctive as her singing. On Little Steps, Amsterburg's small, soulful, dusky soprano makes a big first impression, sometimes radiating an insinuating lyricism even when the lyrics suggest that there’s a lot more on the singer’s mind than simply a romantic excursion along the fringes of folk-pop. For example, she wraps her distinctive style around unforgiving lyrics to create an intriguing contrast in "Design," a song that combines a veritable scolding with a sensuous vocal track and typically multi-layered arrangement. If the melody doesn’t pull you in, the unfolding drama most certainly will.
Similarly, the confessional ballad "Heart Of My Head" has two things going for it: a languid, soft-spun melody, and a thoroughly unsentimental lyric. Or consider "Atmosphere," a song with a melody that could pass for an ancient Irish air and a lyric that candidly explores the emotional dynamics of love gone bad: “I was the one blind to all that was at stake, you had the last word, though it was unspoken.” Like so much of Amsterburg’s thoughtful, tuneful music, there’s a lot more going on here than meets the ear the first or second time around. As on her debut album, the critically acclaimed Season Of Rain, Amsterburg displayed great resourcefulness in the studio. She used an unusual array of instruments -- guitars, mandolin, bouzouki, harmonium, trumpet and banjo, among others -- as well as a washing machine to create a series of imaginatively woven settings that cast three or four minute spells. In the end, that’s one of the reasons why Little Steps also proves to be more than a little haunting. Also recommended: Merrie Amsterburg, Season Of Rain; Shawn Colvin, A Few Small Repairs. Posted October 26, 2006 1:53 PM | | |
ARTIST: Adrian Belew SONG/ALBUM: Op Zop Too Wah GENRE: Alternative RATING: 6
Adrian Belew’s Op Zop Too Wah is a dichotomy, a glimpse into the schizophrenic musical soul of one of modern rock’s most significant artists. On the one hand, it’s a pop record, full of Beatles-inspired chord progressions and solid song constructions. On the other, it’s an avant-garde record, full of disturbing, twisted, and quirky experiments in eclecticism. The result, as a whole, is clearly disconcerting. Belew’s impressive track record as a solo artist and collaborator is common knowledge to any fan of cutting edge rock. He's a master of otherworldly guitar sounds, and has developed one of the most singular styles in music. His radical approach to the role of the electric guitar in the rock ensemble first caught the attention of Frank Zappa and David Bowie and, ultimately, the Buddha of King Crimson, Robert Fripp. Belew contributed heavily towards establishing King Crimson as one of the most cutting edge bands of the '90s, lending his beautiful voice, impeccable sense of melody, and psychotically profound guitar licks to Crimson's Beat, Discipline, Three Of A Perfect Pair, and Thrak.
His concurrent solo career culminated with Here, which showcased Belew’s talents as a songwriter, singer and multi-instrumentalist, and became immediately notable for its compositional soundness. There isn't a single wasted moment on Here, as Belew reveals his mastery of both guitar and pen, and subverts his natural radicalism for his dual penchant for pop melodicism and fully realized chord progressions. Op Zop Too Wah, conversely, explores Belew’s more experimental side. The pop gems are fewer, and often obscured by the musical shards of glass surrounding them. There's a sense of incompleteness to the album, as if brilliant ideas were pursued only halfway to their completion. Nonetheless, tracks like "Six String," "All Her Love Is Mine," and "Time Waits" are clearly among Belew’s best songs. More experimental tracks like "Word Play Drum Beat" and "Modern Man Hurricane Blues" add to the diverse emotional resonance of the album. It’s hard to deny the quirky sense of fun that pervades this collection, and its creator's obvious dedication to his muse. Also recommended: David Bowie - Scary Monsters; Talking Heads - Remain In Light; Tom Waits - Swordfish Trombones; King Crimson – Thrak; Captain Beefheart - Trout Mask. Posted October 24, 2006 9:44 AM | | |
ARTIST: The Black Crowes SONG/ALBUM: By Your Side GENRE: Alternative RATING: 8
In an unlikely turn of events, The Black Crowes became, at the height of their commercial success, spokesmen for a style of music for which they were once mere pretenders to the throne. Simply by virtue of sticking around for as long as they have, the Crowes have earned true legitimacy. Of course, it doesn’t hurt that the Brothers Robinson and Co. play their brand of Stones/Faces/Aerosmith rock with enough Southern-fried swank and sleazy conviction to sway all but the most jaded listeners. They emerged from Georgia at the dawn of the grunge movement, offering testimony to the power of the music that so moved them -- late 60’s British rock, Stax and Motown soul, the relentless shuffle of Exile-era Stones, and a touch of the Blues through the conduit of the Allman Brothers Band.
Certain factions wasted no time slinging mud the band’s way, slamming them for their retro tendencies and rock posturings. But the Crowes stuck around, filling an increasingly vacant spot in the rock landscape. To their critics, Chris and Rich Robinson responded like perfect Southern gentlemen: “We play the music we grew up loving, and we have just as much right to it as anyone else does.” Eventually, their persistence payed off, especially on By Your Side, the band’s fifth and probably finest release. To say that the album comes screaming out of the speakers like a shrill rebuke to its nay-sayers may be a touch over the top. But not by much. Picture Sam & Dave guesting on Aerosmith’s Rocks, and you’ll get a pretty good idea of what’s going on here. Vocalist Chris Robinson sounds so much like Faces-era Rod Stewart at times that it’s downright uncanny, but his soulfulness sounds more earned than manufactured throughout the album’s eleven tracks. Sibling Rich Robinson handles all of the guitar duties here in the wake of Marc Ford’s departure, with rich, vibrant layerings providing the majority of the album’s sonic information. The album kicks off with Chris Robinson’s "Otis Redding after too many bong hits" intro rap, blazes into the brutally endearing "Go Faster," and doesn’t let up until the last notes of the sultry "Virtue and Vice." Along the way, there's vintage Crowes ("Kickin’ My Heart Around"), old school R&B ("By Your Side," "Only A Fool"), groove-heavy rock ("Horsehead"), gospel-edged soul ("Go Tell The Congregation"), and even a pinch of psychedelia ("Welcome To The Goodtimes"). Also recommended: The Faces - A Nod Is As Good As A Wink To A Blind Horse; Aerosmith – Rocks; The Allman Brothers - Idlewild South. Posted October 24, 2006 9:17 AM | | |
ARTIST: David Byrne SONG/ALBUM: Feelings GENRE: Alternative RATING: 7
Former Talking Head David Byrne brings the strongest elements of his three previous solo works together with a touch of the modern on Feelings, his first release since 1994’s David Byrne. Blending his penchant for Latin, Brazilian and African stylings with his sure-fire sensibility for pop hooks and clever, insightful lyrics, Byrne has created a lasting masterpiece. Recorded at various locations around the world, Feelings runs the gamut from witty world-beat ("Miss America," "Daddy Go Down"), to acerbic pop ("Dance On Vaseline," "The Gates Of Paradise"), to just plain beautiful ("A Soft Seduction," "Fininte=Alright"). The addition of British trip-hoppers Morcheeba adds a distinctly modern flair to several of the tracks, and should open a wider audience to the charm of this eccentric genius. Also recommended: Talking Heads – Naked; Ivan Lins - Awa y Io; Morcheeba - Who Can You Trust? Posted October 24, 2006 9:03 AM | | |
USER: Jim2nd USER TYPE: Reviewer ARTIST: 38 Special SONG/ALBUM: Resolution GENRE: Rock RATING: 7
Don Barnes, vocalist and guitarist with veteran Southern rockers 38 Special, called Resolution “an album that emphasizes where we’ve arrived creatively, without forsaking what got us here. We’ve gone through a lot of changes over the years, watching the musical landscape shift dramatically. We’ve tried to look at those changes in a positive way and tried to learn from them, rather than be intimidated by them.” One thing that hasn’t changed is the band’s ability to meld southern rock with a penchant for memorable, pop-inflected choruses. Like the classic songs most often associated with the band, among them "Caught Up In You," "Back Where You Belong," and "Second Chance," the thirteen tracks that comprise Resolution are stuffed to the brim with six string alchemy and four-on-the-floor pop rock smarts. Producer Joe Hardy, who has worked as well with southern rockers ZZ Top and Steve Earle, captured the trademark intensity of 38 Special’s infamous live energy on "Deja Voodoo" and "Miracle Man," both of which recall the glory days of the band’s greatest success. Elsewhere, the band’s knack for earnest and emotional ballads comes into focus on tunes like "Shelter Me" and "Changed by Love," both of which reveal a band which has aged gracefully, and isn’t afraid to confront mature subjects. “Without a doubt,” Barnes remarks, “we tried to push ourselves lyrically, a lot of which is simply the result of getting to points in our lives where our concerns are naturally broader than they were in our twenties." With renewed energy and enthusiasm, 38 Special delivers one of its most inspired recordings here. Also recommended: Lynyrd Skynyrd - Gimmie Back My Bullets; The Allmann Brothers Band - Idlewild South; Marshall Tucker Band - The Marshall Tucker Band. Posted October 24, 2006 8:58 AM | | |
ARTIST: Southside Johnny & The Asbury Jukes SONG/ALBUM: Hearts of Stone GENRE: R&B RATING: 8
Southside Johnny & The Asbury Jukes debuted on the national scene in 1976 in the wake of the enourmous succcess of their New Jersey buddy, Bruce Springsteen. The resultant flurry of publicity was a double-edged sword for the Jukes, an electrifying R&B ensemble from the Jersey shore. The frequent dismissals of the Jukes as a knock-off of the E Street Band were baffling -- there's little similarity between Springsteen's urban folk rock and the Jukes' sweaty, horn-driven rhythm and blues. And Southside Johnny Lyon's careening, care-worn vocals are a far cry from Springsteen's stentorian theatrics.
The Jukes' entire career has been flecked with glorious moments, but their third album, 1978's Hearts of Stone, was its pinnacle. Drenched with reckless, committed emotion, its extravagant melodies soar to the stratosphere, propelled by swirling horn arrangements. Lyon's ragged, raging vocals have never sounded better (nor have the horns, the ace up this band's sleeve, ever sounded more explosive). It was also the final album involving Miami Steve Van Zandt. Van Zandt, doing double-duty as Springsteen's E Street Band guitarist, cofounded the Jukes with Lyon and wrote much of the band's first three albums. The first two mixed Van Zandt originals with soul classics, but Hearts of Stone was almost entirely penned by Van Zandt, Springsteen and Lyon. From the opening tune, "Gotta Be a Better Way Home" which swiftly adds, in succession, drums, guitar, piano, bass and finally surging horns, there's not a single fall off among the disc's nine tunes. Both "This Time Baby's Gone for Good" and "I Played the Fool" swell with an all-encompassing sadness and sense of loss. And it's hard to believe that Springsteen wrote the bubbly, unaffected "Talk to Me." The Jukes take a break from their over-the-top intensity on the wistful "Light Don't Shine" and horn-free "Hearts of Stone," the ultimate heartbreak ballad and one of the band's sparsest arrangements, nudged along by a lyrical lead guitar. Though Lyon often hurled himself willy-nilly at a song, these ballads revealed that he could also caress a song with his voice. The raw "Take It Inside" is one of the band's all-time high points, though it doesn't begin to touch the band's eventual masterpiece, "Trapped Again," which builds off Allen Berger's portentious bass riff and detonates like a firecracker, spewing the messy, impolite, even dangerous passions that were at the heart of the band's original, pulsing music.
Also recommended: Southside Johnny & the Asbury Jukes - I Don't Want To Go Home; Southside Johnny & the Asbury Jukes - This Time It's For Real; Arthur Alexander - The Ultimate Arthur Alexander; Sam Cooke - Greatest Hits; Thornetta Davis - Sunday Morning Music; The Afghan Whigs - Gentlemen Posted October 23, 2006 2:48 PM | | |
ARTIST: Mott the Hoople SONG/ALBUM: Mott GENRE: Rock RATING: 7
All the elements of Mott the Hoople's past and present synchronized perfectly on 1973's Mott, one magical moment before the band's Ian Hunter-fronted lineup disintegrated in 1974. It opened with the rueful "All the Way to Memphis," which mocked the pretensions of rock & roll stardom while rocking mightily with its heavy, rhythmic piano and the throaty sax of Roxy Music's Andy McKay. The song encapsulates Hunter's instantly identifiable (and later, much imitated) vocal style, derived from Dylan and Lou Reed but transformed by Hunter into his own signature approach with its lagging, conversational phrasing and wailing tone. The line "There was my guitar- electric junk" has since become one of rock's most memorable utterances.
Hunter's throbbing, insistent piano underlies most of the album, which has an irreverent classicism that thickens and complicates '50s influences Jerry Lee Lewis, Chuck Berry, and Little Richard. The self-consciously decadent lyrics have to be taken in the spirit of the time. Though Mott the Hoople avoided the effete posturing and futuristic conceits of many glam artists of the time, they were still prone to singing about the glittering, frazzled rock & roll life they led (in fact, it was the main theme of the album). But songs like "Hymn for the Dudes," the engaging "Honaloochie Boogie" and "Ballad of Mott the Hoople" include sharp insights into their lifestyle snapshots (the now infamous line "Rock and roll's a loser's game" comes from "Ballad"). In a wholly different vein, the regretfully jaded "I Wish I Was Your Mother," has a kind of folksey flavor courtesy of guitarist Mick Ralphs' twinkling mandolin. "Drivin' Sister" is just good fun -- a song that could have been covered by any punk band of the last thirty years. Years after the Hoople closed up shop, not only punk bands, but metal bands like the London Quireboys, Hanoi Rocks and even Guns 'N Roses aped the band's riffs, phrasing, lyric concepts and even their look. Definitely worth every minute.
Also recommended: Mott the Hoople - All The Young Dudes; Mother Love Bone – Apple; Mick Ronson - Slaughter On Tenth Avenue; Guns 'N Roses - Appetite For Destruction; Hanoi Rocks - Two Steps From The Move; Ian Hunter - You're Never Alone With A Schizophrenic Posted October 23, 2006 2:35 PM | | |
USER: Jim2nd USER TYPE: Reviewer ARTIST: Steve Earle SONG/ALBUM: I Feel Alright GENRE: Country RATING: 7
Redemption comes in many forms. For Steve Earle, it took the shock of a jail sentence to yank him out of a downward spiral and onto a brightly lit path -- a path that eventually led him to the peak of his creative powers. One of Nashville’s finest songwriters, Earle burst onto the scene in 1986 with Guitar Town, a minor masterpiece that merged the legacies of Hank Williams and Bruce Springsteen. Soon, the rebellious country-rocker was winning legions of fans, and four Grammy nominations, for his haunting songs of innocence and experience. Then his formidable talent was sidelined by drug addiction. But if you’re expecting this collection of post-prison tunes to be an exercise in despair, think again. With the unflinching vision of a street poet, Earle re-emerged with some of the most joyous and confident writing of his career. His songwriting here reflects the kind of hard-earned wisdom that can only come from surviving the hard way. “You see things differently at 41 than you do at 31,” he said following this release. “Especially if you got to 40 the way I did.” Half celebration, half cautionary tale, I Feel Alright reveals the dual sides of Earle’s musical persona: a defiant maverick who lets down his guard to display surprising tenderness, but never fails to cast a wary eye over his shoulder. “I’ve been to hell and now I’m back again,” he sings in the title track. Take the man at his word. Posted October 22, 2006 3:13 PM | | |
USER: Jim2nd USER TYPE: Reviewer ARTIST: Judith Edelman SONG/ALBUM: Drama Queen GENRE: Country RATING: 7
Judith Edelman’s third release, Drama Queen, is an affecting and ambitious blend of the simple and complex. Backed by a front porch band (guitar, mandolin, violin, bass) and rooted in bluegrass, her lyrics explore a complicated, psychologically self-aware terrain. Edelman’s songs are character-driven, and the characters seem lonely. But they avoid direct emotional statements, and it leaves their poetry somewhat earthbound. Drama Queen is a fascinating work, as it asks the question, “Is a marriage of head and heart really possible?”
Edelman’s clever lyrics reflect her urban, intellectual background (her father, Gerald M. Edelman, is a Nobel Prize-winning scientist). Yet the marriage of those lyrics to a down-home sensibility is disconcerting. It presents the picture of a person striving to achieve clarity, but knowing that she might never get there. “Don’t think too much, don’t analyze,” she warns in "Blood Reunion," a track about a difficult family reunion. Co-produced by Edelman and her husband, mandolinist Matt Flinner, the album has a clean, polished sound. Edelman’s bell-like voice is recorded up-front and personal, and her virtuosic musicians here perform with rhythmic drive and zeal. The 12 songs and lone instrumental are varied in mood and tempo, making for a satisfying and coherent experience. Fiddler Casey Driessen and bassist Lex Price cloak their fluency in simple lines, while Flinner’s accompaniments are ornate and full. The charming, reel-like instrumental "Preacher & Flo" is a perfect respite from Edelman’s active imaginings. Musically, Edelman’s compositions are elemental and produce a warm, folksy feel. Her more commercial attempts, such as the haunting "The Sisters Of St. Timothy," or the friendly "Don’t Open That Door," tend to linger.
Also recommended: Gillian Welch – Revival; Lucinda Williams - Car Wheels On A Gravel Road; Edgar Meyer - Yo-Yo Ma; Mark O’Connor - Appalachian Journey Posted October 22, 2006 3:04 PM | | |
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