QuickTake CD Reviews
Music Home / Reviews HomeSolange Knowles: Sol-Angel and the Hadley St. Dreams
Released during the same year as her big sister’s smash solo bow, Solange Knowles’ debut album, 2003’s Solo Star, had the misfortune of arriving during the full flush of Beyoncé mania – and also, it pretty much sucked. Since that album tanked, Solange has acquired a reputation as the more willfully independent Knowles sister – she’s a divorced single mother whose own Wikipedia entry describes her as “a total bitch” – while doing little to move herself musically out of Beyoncé’s shadow. Call her the Jan Brady of the Knowles family – and call it surprising, then, that her terribly named sophomore release is actually very much worth listening to. Solange’s voice is thin, but in a charming Diana Ross-type way, which works to her extreme advantage here, as she’s blanketed these songs with a heavy Motown vibe. Don’t call it a throwback, per se – there’s still plenty of the hard-edged modern production you’d fear from any young R&B artist – but there’s also plenty of live instrumentation (yes, even drums!) and an overall earthiness that’s as appealing as it is unexpected. The majority of the record-buying public will probably sleep on Sol-Angel and the Hadley St. Dreams, but they shouldn’t – this record’s better than its title. (Geffen 2008)
Jeff Giles
9/5/2008
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The Rescues: Crazy Ever After
Their press materials use the phrase “indie supergroup,” which is a bit of a stretch – of the three members of the Rescues, you’re liable to recognize only Gabriel Mann’s name, and that’s only if you’ve spent a fair amount of time trawling CD Baby and its kin for unsigned singer/songwriter types – but puffed-up verbiage aside, if you’re at all into introspective, harmony-fueled acts, you’ll want to look into getting yourself a copy of Crazy Ever After right away. The Rescues’ songs are frustratingly uneven – the album veers from strong stuff like opening track “Lost Along the Way,” which sounds like something Fleetwood Mac’s younger cousins would cook up, to mopey coffeehouse tracks like the interminable “California Rain” – but when the trio is on, they’re eminently listenable; it isn’t hard to hear what soundtrack supervisors see in the band. (They’ve already been tapped for “Superhero Movie,” “Igor,” “Army Wives,” and “The Lucky Ones.”) The album’s lack of consistency is particularly aggravating, given that all three of the Rescues made their bones as songwriters, and pooling their material should have been more satisfying than this. All in all, though, not a bad debut, and it’ll be interesting to see where they go from here. (Red Wind 2008)
Jeff Giles
9/5/2008
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Amy MacDonald: This Is the Life
The year has already brought a bumper crop of female nouveau-soul singers from the United Kingdom – and they’re still coming: Meet Amy MacDonald, the Scottish chanteuse whose debut has already spun off a handful of hit singles and moved a million units across the pond. The timing of This Is the Life’s release will provoke comparisons to Duffy and Adele, but vocally, MacDonald bears more of a resemblance to Dolores O’Riordan, with a little Kirsty MacColl and Sinéad Lohan thrown in for good measure, blended with acoustic guitar-based singer/songwriter arrangements. All these other names are helpful for providing musical points of reference, but they also do a fair job of summing up MacDonald’s main problem – namely, her music does a better job of evoking others’ than it does of standing on its own. Her songs are agreeable enough, particularly the quieter ones, but none of them are particularly memorable. (Decca will also have its work cut out for itself when it comes to promoting such oh-so-British tracks as “Footballer’s Wife.”) Still, if she lacks the sort of killer first single that peers such as Adele have enjoyed, MacDonald does boast a quiet consistency entirely in keeping with her album’s muted, ‘70s-inspired artwork. One to keep an ear on. (Decca 2008)
Jeff Giles
9/5/2008
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Sarah McLachlan: Fumbling Towards Ecstasy (Legacy Edition)
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Let us address the star rating right up front: Sarah McLachlan’s Fumbling Towards Ecstasy is a modern-day classic, one of the finest pop albums of the ‘90s and absolutely worthy of the “deluxe edition” treatment. The problem with this deluxe edition, though, is that it brings nothing new to the table. Disc One is Ecstasy in its entirety (they wisely moved the piano version of “Possession” to its own track, rather than being the hidden track behind the title song), and Disc Two is The Freedom Sessions, the 1995 stopgap album of Ecstasy demos and alternate versions. The DVD is “Fumbling Towards Ecstasy: Live,” originally released on VHS in 1994 and issued on DVD in 2005. Odds are, fans of McLachlan have some or all of these individual pieces already, and will not need to upgrade. However, if you are one of the six people left who have thought about buying Fumbling Towards Ecstasy but haven’t yet done so, this set is a gold mine. (Arista/Legacy)
David Medsker
9/5/2008
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Joseph Arthur: Foreign Girls EP
Coming hot the heels of this past June’s stellar, ethereal Vagabond Skies, Foreign Girls ends modern day Renaissance man Joseph Arthur’s 2008 EP extravaganza with a whisper instead of a bang. This semi-acoustic-based set of six short songs comes and goes with barely enough time to register, except for the impression that the vocals aren’t totally on point in “Foreign Girls” and “Candy and Cars.” Its electronic flourishes also come off as gimmicky rather than essential (especially on the otherwise decent tune “Stay”), though “New Satisfaction” strikes the best balance between Arthur’s electronic and acoustic tendencies, makes effective use of falsetto, and ends the disc on a high note. Otherwise, the EP feels less like a cohesive set of tunes than a collection of leftovers. Maybe he’s saving the big guns for his upcoming full-length album, Temporary People, in September. After this wacky year-long set-up of four EPs, one would certainly hope so. (Lonely Astronaut 2008)
Michael Fortes
9/5/2008
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The Mood: Synaesthesia
Everything about this album, from the band’s name to the vaguely Talking Heads-ish artwork to the title, suggests snobbishly arty postmodern pop – but the Mood’s Synaesthesia is actually a breezy six-song chunk of good old-fashioned power pop, with tracks such as “Eskimo Scientist” aimed right at the pleasure centers of music fans who still fondly reminisce about bygone groups like Gladhands or Summercamp. Of course, this stuff never sells worth a damn, so the EP is destined to whisper quickly into dust-covered obscurity, only to be pored over by pop nerds years from now…like, say, Gladhands’ La Di Da. Nothing here approaches the classic greatness of that album, but it’s cut from mostly the same cloth, and so few bands are doing this sort of thing anymore that it’s hard not to snap your fingers and bob along. Too short to wear out its welcome and too catchy to resist, Synaesthesia offers up a perfectly serviceable soundtrack to brief end-of-summer barbecues. If there’s a real knock against the EP, it’s that the material is good, but never great — with a few truly stellar songs, who knows what they could do? (Outright Rock 2008)
Jeff Giles
9/5/2008
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Donna the Buffalo: Silverlined
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Forget the silly handle; there’s no one named Donna in Donna the Buffalo. For that matter, there’s no Buffalo involved either. Nevertheless, over the past 20 years or so, Donna the Buffalo has become a fan favorite on the festival circuit, thanks to a no-nonsense blend of breezy Americana and homespun attitude. Their latest, Silverlined, appears more streamlined than previous efforts, with the band’s three singers – Tara Nevins, Jeb Puryear and Joe Thrift – rotating the vocal chores. With a sound that recalls the latter-day Byrds and their Flying Burrito Brothers offspring, the new album finds them in affable country rock mode, complete with mid-tempo melodies, down home arrangements and a populist point of view. Nevins’ songs garner the most attention here – “Temporary Misery,” “Broken Record” and “I Don’t Need A Riddle” being the best of the bunch – and it’s her sass and swagger that gives the band its spunk. So while Silverlined doesn’t break any new ground, it still purveys plenty of back porch charm, and that’s ample reason in itself to want to run with the herd. (Sugar Hill)
Donna the Buffalo MySpace page
Lee Zimmerman
9/4/2008
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Steal This Song: Carlon, “Cantaloupe”
Holy “Jesus Was a Crossmaker,” Batman.
New Jersey: It’s not just for bar bands anymore. This quartet does the best Hollies impression we’ve heard in ages, good enough to blow away anything by Band of Horses, to whom the band is favorably compared in their press release. Now, we like that Band of Horses album as much as the next guy, but there isn’t anything on Cease to Begin that comes close to matching the beauty of “Cantaloupe.” Is it just us, or does everyone else hear Christopher Walken’s voice when they see the word ‘cantaloupe’? Blame it on too many viewings of “True Romance.”
The band’s full-length debut, Johari Window, comes out September 30. We can’t wait to hear the rest of it.
David Medsker
9/2/2008
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Jimmy Witherspoon featuring Robben Ford: Live at the 1972 Monterey Jazz Festival
Jimmy Witherspoon was so enthralled with what he was hearing from his guitarist, Robben Ford, that he shouted his name in approval a dozen times throughout his ’72 Monterey Jazz performance (ten of those shouts occurring during the solo in “Goin’ Down Slow” alone), preserved here on disc. Ford truly did earn the co-credit on this disc, and eventually went on to play with Miles Davis a decade later. As for ‘Spoon, what’s even more entertaining than his jolly takes on classics like “Kansas City” and “Walkin’ By Myself” are his outbursts – threatening to tear away the stage curtain (“I’ll cut it! I’ve got my knife!” he shouts three times when the curtain is drawn after “Walkin’ by Myself”), and then cutting off his band midway through his performance of “Early One Morning” to tell the audience about the night he drank some scotch after forgetting that he had just popped some reds. To their credit, the band (bassist Stan Poplin, drummer Jim Baum, and Paul Nagel on Fender Rhodes) also stay plenty tight for ‘Spoon and Ford, anchoring a night that had to have been a total gas for all who were there. (Monterey Jazz Festival 2008)
Monterey Jazz Festival Records Myspace page
Michael Fortes
9/2/2008
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Shirley Horn: Live at the 1994 Monterey Jazz Festival
Listening with 2008 ears that have spent plenty of time with music of today’s standard bearer for female jazz vocals – Diana Krall, who else? – it becomes abundantly clear just how much a debt Ms. Krall owes to her forebear, husky-voiced singer/pianist Shirley Horn. Riding a wave of renewed interest that began in the late ‘80s, Horn came out swinging at her only Monterey Jazz Festival appearance. “Foolin’ Myself” and “Nice n’ Easy” are highlights, as is her rendition of “I’ve Got the World on a String,” which sounds awfully close to how Krall would approach it the following year on her second album. Best of all, though, is her total ownership of “The Look of Love” – she dips and swoons her way through a wonderfully elastic take on the Bacharach classic, with great sympathy from her rhythm section, bassist Charles Ables and drummer Steve Williams. (Monterey Jazz Festival 2008)
Monterey Jazz Festival Records Myspace page
Michael Fortes
9/2/2008
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Cal Tjader: The Best of Cal Tjader Live at the Monterey Jazz Festival
For the late West Coast vibraphone master Cal Tjader’s entry in the series of live discs issued by the Monterey Jazz Festival’s archival record label, performances from his dates at the annual event have been cherry-picked, spanning five dates between 1958 and 1980. Aside from the gloriously consistent fidelity of all the recordings – the ’58 sessions sound just as crystal clear as the ‘70s and ‘80s recordings – the voice he developed apart from peers like Milt Jackson and Bobby Hutcherson comes through loud and clear. Though his bop tunes from ’58 with pianist Vince Guaraldi, bassist Al McKibbon and drummer Willie Bobo are fine and dandy, it’s the Latin tracks that really put this disc over the top. Especially of note is the conga- and timbale-infused ’72 performance of “Mateca,” which stretches out for over 12 minutes and features fetching cameos from Dizzy Gillespie and Clark Terry, not to mention Mitchell Wolf’s awesome electric piano comping. Add a stately ballad from ’77 (“If You Could See Me Now”) and a little bossa nova (“Speak Low”), and Cal’s bases are pretty much covered here. (Monterey Jazz Festival 2008)
Monterey Jazz Festival Records MySpace page
Michael Fortes
9/2/2008
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The Moody Blues: Live at the Isle of Wight Festival
This is going to make a small group of people very happy. Taken from the last of the original Isle of Wight Festivals before its resurrection 22 years later – the crowd that attended was estimated to be over 600,000 – the 1970 concert was videotaped for posterity, and now, nearly three decades later, comes an audio recording of the set from Moody Blues, who were as big as any band in England at the time. It’s a fascinating listen, both from a sonic perspective and a historical one. “Minstrel’s Song” explains the origins of half of the Stone Roses’ debut album, and it’s fun to hear a band known for its pristine studio recordings let rip on songs like “Tuesday Afternoon” (where singer Justin Hayward forgets the words) and “Question.” In retrospect, the Moodys weren’t much different from their harder-rocking peers when it came to playing live. As for the overall sound quality, well, it’s 1970 and it’s live, which means it’s really, really tinny. It’s a sweet dose of nostalgia, but for completists only. (Eagle)
Click to buy The Moody Blues: Live at the Isle of Wight Festival on Amazon
David Medsker
8/29/2008
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Johnny Flynn: A Larum
Combining a sturdy stance with a penchant for swagger and sway, newcomer Johnny Flynn borrows heavily from Brit folk forebears like John Renbourn and Bert Jansch through his authoritative debut. Relying mostly on the strum of an acoustic guitar, an occasional fiddle, hints of brass and a melodious vocal that commands attention on first hearing, he’s too trad to be labeled nu-folk, but too much of an upstart in attitude to be classified as old school, either. Mainly he’s an artist that gravitates towards piercing melodies and an affecting delivery, one whose songs reflect a somber stance. “Tickle Me Pink,” as its title implies, reveals a rare moment of giddy delight, while the driving tempo of “Eyeless in Holloway” will likely entice the pub crawlers. Mostly though, this a steady, unwavering set of tunes, one that reflects a workingman’s outlook and approach. Indeed, Flynn sounds wise beyond his 25 years (“A Larum” is middle English for “Alarm” it turns out, a bow to scholastic aptitude no doubt), but his rollicking rhythms hint at a youthful zeal that’s barely repressed. (Lost Highway)
Lee Zimmerman
8/29/2008
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Inara George With Van Dyke Parks: An Invitation
A reconnection in ways more than musical, Inara George’s collaboration with the legendary Van Dyke Parks takes her into new terrain but, in a sense, brings her back home. Parks was a pal of her dad, the late Lowell George and was even there at her birth. Still, the biographical details will likely get less attention than this current outing, a swirling collage of orchestration, pop opera vignettes and contemporary classical motifs. Consequently, the sound checks proved equally ample, given influences that name check Kurt Weill, Edith Piaff, Aaron Copeland, Gilbert and Sullivan, Annette Peacock and Carla Bley. The lack of distinctive melodies and an overall flow that finds sets of strings dominating the musical landscape makes passive listening a bit of a challenge, at least for those who like their songs simple and succinct. Still, those looking to hear more from the man who helped bring Brian Wilson his Smile will find this Invitation worthy of an RSVP. (Everloving Records)
Lee Zimmerman
8/29/2008
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Red State Update: How Freedom Sounds
Say this for Jonathan Shockley and Travis Harmon, the two men behind Red State Update: they are walking as slippery a slope as you will find. Pretending to be what is traditionally thought of as blue-collar Republican voters, without either pandering to blue-collar Republican voters or having fun at their expense, is not an easy feat, but Shockley and Harmon do the balancing act quite well. The problem with not taking sides, though, is that you deny yourself the opportunity to do something extraordinary, and that is what ultimately prevents How Freedom Sounds, Red State Update’s debut (and likely swansong) album, from being something special. The songs won’t reinvent the satire wheel, but some genuine smarts are lurking within the redneck accents; “If I Was You” recommends that the subject of the song should just start drinking heavily in order to forget how miserable their life is, while Dunlap (Shockley) daydreams about the elusive “Stripper without a Kid.” Best of the bunch is “Get the Hell Outta My Store Hippie,” where Jackie (Harmon) complains about the Bonnaroo crowd freeloading in his store. It’s cute, but it’s just that: cute. The best humor is incendiary, not cute, and Shockley and Harmon are clearly capable if doing something incendiary. (Dualtone)
David Medsker
8/29/2008
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Pork Pie: Transitory
Packaged in a cool mini-LP sleeve replica, complete with gatefold cover, liner note insert and a CD that looks like a tiny vinyl record (even the plastic is black), Promising Music’s MPS reissue series takes some cues from those collectible (and pricey) Japanese LP-sleeve reissues in feting the catalog of the German jazz label. Dutch keyboardist Jasper van’t Hof has one of the more obscure titles in the series, with his Pork Pie group’s Transitory album, though any ‘70s fusion head will be glad to hear it. Recorded and released in 1974, the music reflects much of what was going on in jazz at the time – the rock and world rhythms that supplanted the swing of old, the appropriation of rock guitars and funky electric pianos, and compositions that defied categorization. The “world rhythms” truly are international here – each member of the collective hails from a different country (the Netherlands, Italy, Belgium, the United States, and a guest percussionist from Brazil round out the collective), culminating in a sound that, when not venturing into ambient territory, provides an interesting window into a time when “fusion” was not yet a dirty word. (MPS/Promising Music 2008)
Michael Fortes
8/29/2008
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Wilkins: No Expiry Date
Family group Wilkins has created a pleasnt pop album on No Expiry Date. The trio mixes a bit of everything from smooth pop (”Easy”) to classical (”.79″) to torch songs (”Just a Memory”). Throughout the playing is tasteful and the performances are tight, which can only come from years of playing together (indeed, the inside of the disc’s booklet features pictures of the husband/wife/son unit through the years). It’s just hard to tell if this kind of work will appeal to a wider audience. What’s here is good, with “Love Is Gone” featuring a folksy/country vibe with its mandolin and “P.E.I.” treading into Carole King and Carpenters territory. And those are the same things that might limit larger appeal overall. As great as King and the Carpenters were, sometimes some of these tracks come off as a little sappy. And with so many of the 13 tracks here slower numbers, sometimes the whole thing begins to sound the same. Still, you have to give Wilkins credit for doing what they want to do and doing it well. (self-released)
Jason Thompson
8/29/2008
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Brandie Frampton: What U See
I’m not the world’s biggest pop country music fan by a long shot, but even I have to admit that 16-year-old Brandie Frampton has a lot going for her on her album What U See. The young artist shows an uncanny command of working a song into a tasty froth without getting into cornball or cliched territory. The gal’s already won some awards for her work, and one listen to this disc will prove why. “Ain’t That Life” is one of the best pop country tunes to come along in years by anyone, period. “I Want You 2″ sounds like something that could easily climb the charts with Frampton’s throaty vocals at the fore and her down-home attitude shining through. “Colours” shows off Brandie’s softer side and once again it comes off impeccably, with beautiful production. What Frampton really has here is a true pop and country album, straddling the line easily between both. What’s more, she isn’t doing kiddie fluff or tackling subjects that might be too “adult” for someone her age. This is simply just good stuff through and through. Look out, Miley Cyrus. (DLF Records)
Brandie Frampton MySpace page.
Jason Thompson
8/28/2008
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Mars Arizona: Hello Cruel World
Pinpointing the exact locale of one Mars Arizona may be difficult, but the Berkley-based duo that appropriates these fictional environs as their moniker offers up an assured sound for their superb third outing. Banjos, fiddles and mandolins – not to mention the participation of legendary veteran session players David Grisman and Al Perkins — fuel their tales of hard-bitten heroes and steely glimpses at the nation’s current malaise. Fortunately though, the blues in their bluegrass never sounds so downcast as to deter from the album’s unabashed exhilaration. Intriguing covers of Neil Young’s “Time Fades Away,” T Rex’s “By The Light of the Magical Moon,” Loretta Lynn’s “Blue Kentucky Girl” and back porch standard “In The Pines” reflect the band’s diversity and should help turn heads their way, but the originals are equally embracing, a reflection of their down-home charm and rousing, rambunctious technique. Suffice it to say, there’s enough life on Mars for all. (Big Barn 2008)
Lee Zimmerman
8/27/2008
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Richard Frankz: The Traveler
Richard Frankz explodes out of your stereo with his good-time honky tonk/blues-country cookin’! It’s true, people. Frankz is a solid songwriter and The Traveler is a fine CD packed with journeyman type songs. “Just Being Me” swings with steady assurance with tight production and rock solid playing by Frankz’ band. “More Each Day” has a smooth kind of ’70s professionalism to it, while the same rings true for “Just Spending Time (With You).” Then there’s the pop side of Frankz, which is best experienced on a track like “I Could Never Fall” that sounds like something Chicago might have done when Terry Kath was still alive. Good stuff, indeed. “Southern Summer Nights” recalls Little River Band as well as Glen Campbell. And on “One Step Forward” Richard Frankz shows off his abilities at melding country and bluegrass with much panache. The Traveler is certainly a rock-solid album that fans of older country stars and just plain good songwriting and performing will like. It’s certainly nice to hear this style of music at this quality being made today. (Richard Frankz Music)
Jason Thompson
8/26/2008
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