QuickTake CD Reviews
Music Home / Reviews HomeTaylor Swift: Fearless – Platinum Edition
RIYL: Julianne Hough, Miranda Lambert, buying stuff twice
Even by the record industry’s inflated, pre-Internet standards, Taylor Swift’s Fearless was a huge album, particularly for a teenage singer/songwriter on her sophomore release: in less than a year, it sold more than five million copies in the States, spun off a record-breaking 12 Top 40 hits, and provided some of 2009’s only tangible evidence that someone other than Michael Jackson can still sell records. All of which is presumably the only justification Swift’s label needed to join the obnoxious “deluxe reissue” trend by tacking on five brand new recordings, a “piano version” of album track “Forever & Always,” and a bonus DVD containing five music videos, four behind-the-scenes featurettes, a photo gallery, and the infamous CMT Awards clip that found Swift donning a sideways cap and rapping alongside T-Pain as T-Swizzle. It’s a ton of extra content, to be sure – and at Amazon’s loss-leader early price of $14.99, it’s a heckuva bargain, too. And it’s also worth mentioning that in today’s era of a la carte digital distribution, this kind of repackaging isn’t quite as crass as it was before iTunes and Amazon’s MP3 Store came along. Still, Fearless: Platinum Edition fails to resonate on two levels: first, although the new tracks aren’t bad at all, they don’t feel like missing pieces of the original album – which ties into the second problem, which is that at 19 tracks and almost 100 minutes of music, this is a bloated, unfocused version of a record that was pretty close to perfect as it was. Why not release an EP – or better yet, why not save these songs for the next full-length album? Simply to drop a piece of premium-priced product on store shelves in time for the holiday season, when Swift’s many teenaged fans can hit up their loved ones for a copy. Fearless still does a fine job of illustrating Swift’s gifts as a songwriter and performer, but this version just isn’t as much fun. (Big Machine 2009)
Jeff Giles
11/6/2009
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Devendra Banhart: What Will We Be
RIYL: Donovan, Marc Bolan, Veviter
Toiling within the ranks of the indie underground, Devendra Banhart has managed to elevate himself into the highest ranks of the so-called “freak folk” hierarchy. His last album, Smokey Rolls Down Thunder Canyon, made a pitch to expand that tag, with Banhart attempting to meld his obtuse approach with the idyllic imagery of the L.A. environs that spawned such ‘60s lynchpins as Neil Young, CSN, the Mamas and the Papas, Joni Mitchell, and various others that made music in those hallowed hills. Likewise, his recruitment by the majors – in this case, Warner Bros. records, home to many of those aforementioned icons – seemed to indicate a concerted effort to break through the barriers.
Indeed, while Banhart’s new label affiliation might seem a concession to commercialism, in truth, the results are every bit as eclectic…and, for that matter, every bit as eccentric…as his earlier efforts. The songs are sung in both English and Spanish, and rather than the clear, coherent melodies identified with the so-called Southern California elite, Banhart still shifts his set-ups – often radically and in the space of a single song. Consequently, “Rats” has a somewhat foreboding start before segueing abruptly into a state of kinetic jubilation. The jazzy inference of “Chin Chin & Muck Muck” morphs several times before the song hits its stride. Likewise, “Angelika” might have succeeded as a soothing serenade had it not accelerated midway through into a sizzling Latin samba.
Still, for all his abrupt turns, Banhart retains a decidedly old school stance. His melodies may seem somewhat amorphous, but his quivering vocals and loping tempos frequently recall the pixie-like warble of Donovan and Marc Bolan. A couple of tracks might bode well for future sing-alongs, specifically “16 & Valencia Roxy Music” and the gentle Spanish serenade called “Brindo.” As an album that’s magnified by ambition and grand designs, What Will We Be may well be his best yet. (Warner Bros. 2009)
Devendra Banhart MySpace page
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Lee Zimmerman
11/4/2009
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Rickie Lee Jones: Balm In Gilead
RIYL: Joni Mitchell, Carly Simon, Janis Ian
It seems but a blink of the eye when in reality it’s been three decades since Rickie Lee Jones scored her breakthrough hit, “Chuck E.’s In Love,” and subsequently garnered her Grammy for Best New Artist. In the 30 years since, Jones has mostly flown below the radar, at least in terms of her commercial appeal, but her sassy, soulful style continues to leave its imprint and make her a recurring staple. Jones has always seemed most comfortable playing the role of both barfly and ingénue, crooning twilight ballads with a knowing air of cool and sophistication, while also taking sharp turns at practically every juncture.
Its not surprising then that those disarming glances haven’t necessarily helped tug Jones back into the mainstream. So consider it fortunate that her new album, the uniformly pleasing Balm In Gilead, again finds her at the top of her game, vamping with versatility through a surprisingly disparate set of songs. No longer the shadowy chanteuse, she proves here that her pull is still intact. Encompassing songs that were written years, and even decades, before, the album gathers some of the best songs she’s authored in years. While her devotees will find the smoky barroom vibe of “Old Enough,” “The Moon Is Made of Gold” and “Eucalyptus Trail” akin to a reassuring refrain, her country croon on “Remember Me” and ambient drone of the stirring “His Jeweled Floor” show an obvious willingness to expand her parameters into more accessible terrain. Toss in some beguiling ballads – “Bonfire,” “Wild Girl” and “A House on Bayless Street” – and Balm In Gilead becomes a soothing salve indeed. (Fantasy 2009)
Rickie Lee Jones web page
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Lee Zimmerman
11/4/2009
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Wolfmother: Cosmic Egg
RIYL: Led Zeppelin, Deep Purple, Black Sabbath
Wolfmother is back! Well, Andrew Stockdale, the lead singer/guitarist of Wolmother is back – everyone else quit/got fired last year and Stockdale decided to continue the Wolfmother name without them. But the new Wolfmother, now a foursome instead of a power trio, doesn’t sound terribly different from the old Wolfmother. So there’s not much need to describe the “sound” of Cosmic Egg: it sounds like Wolfmother. Have you heard “Woman” or “The Joker and the Thief,” from their 2005 self-titled debut? Then you know what you’re in for here. Is that really a problem, though? Sure, Stockdale may just be cribbing the best bits from ’70s metal (specifically, the crunching riffs of Black Sabbath’s Tony Iommi, the howling screams of Robert Plant, and the totally groovy organ solos of Deep Purple), but what the hell is wrong with that? Have you heard the “modern” rock on the radio today?
Maybe we got it right in 1976 – why move forward? If anything, Wolfmother needs to move further in that direction. When they try to slow things down or pop things up for radio, such as on the anemic love ballad “Far Away,” they sound lost. When they let themselves kick out the jams, they deliver; whether slow and methodical, such as the wah-wah heavy “Sundial,” or fist-pounding and headbanger friendly, like “New Moon Rising,” “Phoenix,” or just about every other song on the album. Yeah, it may not be the most original or “intelligent” release of the year, but it’s a solid dose of hard rock and heavy metal at a time when they’re few and far between.
A quick note of annoyance, though: there are two versions of Cosmic Egg, deluxe and standard (our review copy was the standard edition). The deluxe copy comes with four more songs, which add up to 20 more minutes of music. These aren’t outtakes, live tracks or acoustic versions; there’s nothing notably different about these tunes. So when you’re buying the “standard” version of the record you’re basically not getting the full version. It’s hard to tell what the purpose behind such a release strategy is, since all it does it drive people who bought the standard version to go online and download what they’re missing. It’s hard enough for artists to sell records these days, and crap like this just makes it that much harder. What’s the point? (Modular 2009)
Wolfmother’s MySpace Page
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James B. Eldred
11/4/2009
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Los Cenzontles with David Hidalgo & Taj Mahal: American Horizon
RIYL: Los Lobos, Taj Mahal, Ry Cooder
Odds are you’ve never heard of Los Cenzontles (the name translates to “the Mockingbirds”), but they’ve been a major force in traditional Mexican music since forming in 1989. Twenty years and 17 albums later, they’ve teamed up with Taj Mahal and Los Lobos’ David Hidalgo (who also worked with the group on last year’s Songs of Wood and Steel) for American Horizon, a sprawling, 15-track concept album that, in the band’s words, “tells a timely story of immigration, work, and the American Dream.” Not the sort of thing you’re going to hear coming out of Sean Hannity’s car stereo, in other words, but if you’re looking for a beautifully moving collection of roots music that literally transcends language, get ready to spend a few weeks curled up inside the restless grooves of this album. You won’t be able to understand the literal meaning of much of it if you don’t speak Spanish, but don’t worry – you only need a soul and a pair of ears to be able to feel American Horizon’s bright strains of joy and sadness. Think of it as a sort of spiritual cousin to the Buena Vista Social Club, and you’ll be on the right track. Mahal and Hidalgo receive second billing, but don’t buy Horizon looking for flashy cameos; instead, their work here reflects a pair of careers spent knocking down musical barriers. It’s one of the most heartfelt – and purely interesting – records we’ve heard all year. (Los Cenzontles 2009)
Los Cenzontles MySpace page
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Jeff Giles
11/4/2009
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Sam Shrieve: Bittersweet Lullabies
RIYL: Denison Witmer, Jeff Buckley, Adam Cohen
A chip off the old rock? Well, not exactly, although admittedly Sam Shrieve shares his dad’s penchant for making a mark at an early age. The elder Shrieve was, of course, the frenetic drummer for the first Santana band, the youngest musician to play Woodstock and the piercing on-camera presence that practically stole the show from his colleagues. Young Sam takes a more refined route and while his glamorous good looks are obviously destined for full exploitation, his music is considerably more cerebral than either dad’s tribal tempos or than the typical pinup poser. Consequently, Bittersweet Lullabies proves an apt title for these pleasant soft pop musings, alternately celebratory (“Beautiful,” “”Kiss You,” “I’m Sorry”) and unabashedly sentimental (“Welcome to Your Life,” “”I’ll Be There,” “”Sanctuary”). An aching take on the oft-covered “Hallelujah” actually cuts through the competition and fits perfectly in the mix, as sure a sign of Shrieve’s proficiency as any of his originals. A solid support cast, including veterans Bill Frisell and Lyle Workman, lend additional credibility, but Sam’s the man when it comes to carrying the bulk of the musical weight. Dad must be proud, although wondering where the rhythm went. Nevertheless, this impressive initial outing carries a weight all its own. (Colorburst Soundfield 2009)
Lee Zimmerman
11/2/2009
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Timothy B. Schmit: Expando
RIYL: Graham Nash, America, Poco
Despite his indelible imprint on several generations of Southern California soft rockers – from Poco to the Eagles and various side duties along the way in support of his like-minded peers – Timothy B. Schmit has only rarely taken the solo spotlight via a mere handful of individual albums over the expanse of the past 40 years or so. With Expando, Schmit does what he’s always done beast, offering up a set of unassuming, inoffensive mid-tempo pop songs that spotlight his lilting vocals and amiable, good-natured melodies.
Indeed, if the new album reflects a burnished, distinctly ‘70s feel, its for good reason; Graham Nash, Levon Helm, Van Dyke Parks, Jim Keltner and the ever-present Benmont Tench are among the venerable old school stalwarts lending support. Not surprisingly, Schmit’s most impressive offerings are those that find him testing his upper register – specifically, “Ella Jean,” “A Good Day” and “Secular Praise,” a song that finds the Blind Boys of Alabama providing gospel accompaniment. The latter can also be found on the Blind Boys’ new Duets LP, where it also stands out as among the best of that bunch.
In fact, the only time Schmit seems out of his element is when he delves into a hint of blues and funk, respectively – as on lead-off track “One More Mile” and the tongue-in-cheek “White Boy From Sacramento.” Here’s a hint as far as the latter is concerned – the title tells all. (Lost Highway 2009)
Lee Zimmerman
11/2/2009
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REO Speedwagon: Not So Silent Night
RIYL: REO Speedwagon, Air Supply, the Grinch
Their name has long been synonymous with toothless, Wonder Bread-flavored AOR, but once upon a time, REO Speedwagon really did aspire to be a kick-ass rock band – and they showed flashes of getting there over a 15-year period, occasionally managing to work up a decent sweat during minor FM classics like Hi Infidelity and Good Trouble, only to be thwarted at every turn by the soft, pale presence of vocalist Kevin Cronin. He’s had his moments as a songwriter, but as a singer, Cronin is about as rock & roll as Liberace, and his fondness for schmaltz has steadily robbed the band of whatever limited credibility it might have enjoyed. And speaking of schmaltz, here’s Not So Silent Night, a fascinatingly dreadful collection of holiday tracks “with a unique REO Speedwagon musical twist,” which is publicist-speak for “corny as all get out.” Not that Christmas albums need to rock, necessarily, but Cronin really castrates the band here, tossing in shiver-inducing spoken-word sketches, terribly inappropriate ad libs, and borderline offensive cover choices (you can’t help but wonder if John Lennon would still be a pacifist if he could hear this version of “Happy Xmas [War Is Over]”). He’s always had the charisma and vocal authority of a hairless kitten, but Not So Silent Night really begs the question of how Kevin Cronin has managed to keep his grip on REO Speedwagon all these years. Of all the veteran bands who should have gone out and found themselves a nice young replacement singer from the Philippines by now, this one surely tops the list. (Sony Legacy 2009)
Jeff Giles
11/2/2009
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Taylor Hollingsworth: Life with a Slow Ear
RIYL: Steve Earle, Conor Oberst, The Jayhawks
If 2009 were to yield a list of its strangest LPs, I, for one, would nominate the aptly named Life with a Slow Ear for at least an honorable mention. Not that its ragged, homespun ruminations offer anything especially unusual in and of itself; heading up the country and getting back to the roots is a popular path these days, especially for musicians who hunger for a respite from a daily diet of scorching guitars, amplifiers turned up to the max and rhythmic onslaughts that could replicate a small tsunami.
The surprise then isn’t that Taylor Hollingsworth follows suit. A journeyman musician, he spent time in the service of Conor Oberst’s Mystic Valley Band before upping both attitude and amplitude for his initial series of solo outings. However, now that he’s opted to unplug, the thing that separates him from his fellow rustic ramblers is – in a word – his vocals (That’s two words. -Ed.), a high-whining cornhusker of a drawl that suggests a cartoonish attempt at hillbilly authenticity. It undercuts any attempt to take these musings seriously, if for no other reason than it’s such a jolt every time he commands the microphone. While one could concede there’s some synchronicity in his chipmunk chatter and the twangy plunking of “I Didn’t Know It Was the Devil” and “Westfalia,” anytime the mood turns somewhat surreptitious – as in “96 Crayons” and the blustery boogie of “New Orleans Blues” – Hollingsworth actually sounds silly. Attempting to give some weight to “Sin City Blues” – which references both Gram Parsons and Dylan’s “Stuck Inside of Memphis with Those Memphis Blues Again” – Hollingsworth’s voice betrays him, even despite his obvious instrumental dexterity. So while Life with a Slow Ear Is otherwise an admirable effort, it’s a less than critical ear that’s required. (Team Love 2009)
Taylor Hollingsworth MySpace page
Lee Zimmerman
10/30/2009
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Greg Laswell: Covers
RIYL: Nick Cave, Leonard Cohen, Jeff Buckley
With his previous albums, Greg Laswell established his penchant for cinematic soundscapes, purveying a downcast disposition and a haunting, shrouded motif that provided spectral settings for his weary ruminations. Now, he’s taking a brief detour from his own musings via this enticing five-song EP, which retraces songs by Echo and the Bunnymen, Morphine, Mazzy Star, Kristen Hersh and Kate Bush — and, in some cases, actually bests the originals. These songs were somewhat gloomy to begin with, and Laswell makes no attempt to alleviate the mood. Even so, he manages to add a new dimension; by giving a shadowy and shimmering sheen to “Killing Moon,” a lurching yet assertive stance to Hersh’s “Your Ghost,” and buoying the tempo on “In Spite Of Me,” Laswell effectively puts his imprint on each. Likewise, “Take Everything” retains the laconic feel of Mazzy Star’s original, while transforming the song into a stately piano recital, and his take on “This Woman’s Work” strips the song of its harsh veneer and replaces Bush’s signature sensuality with an emphasis on its gentle soul. Ultimately, like every effort in his repertoire, Covers affirms that Laswell’s an original. (Vanguard 2009)
Lee Zimmerman
10/30/2009
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Hem: Twelfth Night
RIYL: Incredible String Band, Amazing Blondel, Pentangle
It ought to come as no surprise that a combo which has taken its cue from iconic Anglo folk music should carry those interests further – in this case, creating an album rich in Celtic and Baroque tradition. But in accepting a commission to pattern a soundtrack for the Public Theater’s production of Shakespeare’s “Twelfth Night,” Hem’s allowed their Elizabethan extremes to run rampant, augmenting their usual mellow musings with a contingent of pipes, flutes, whistles and orchestral flourishes all in keeping with the trappings of the period. Mostly instrumental, it gives vocal nods to a theatrically superior cast that includes Anne Hathaway and Raul Esparza, but it’s a relatively unknown David Pittu who proves best suited to singing the sonnets, especially on such traditionally-tied verses as “The Wind and the Rain,” “Hey Robin, Jolly Robin” and “I Am Gone, Sir.” As the titles suggest, this is neither rock, nu-folk nor any combination thereof, but rather a sound that owes its origins and inspiration to the Bard. Hem enthusiasts will likely note this as a momentary detour in anticipation of a band project due early next year. For their part, theater purists will probably appreciate the effort and admire its authenticity. (Nettwerk 2009)
Lee Zimmerman
10/30/2009
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Otis Redding: The Best: See & Hear
RIYL: Sam & Dave, Al Green, Solomon Burke
In an era when pretenders to the R&B throne spring up like swine flu in the local emergency room, it only takes a glance back at Otis Redding’s career to remind us that no one has ever managed to recapture his electrifying, unfettered energy and passion. Like Sam Cooke, James Brown, Aretha, the Four Tops, the Tempts, Wilson Pickett and Solomon Burke, Otis was one of a kind: a man who relied not on gimmicks or false sentiment, but a genuine, explosive talent that took every song to the precipice between triumph and tragedy. From the stage at Monterrey to ballrooms across the nation and venues around the world, Otis proved he was the ultimate interpreter of gritty, sweat-stoked, heart-wrenching soul, a man whose fiery appeal transcended race or nationality, rock or R&B.
As with many other incendiary talents, Redding’s career was an abbreviated one, cut short in a tragic plane crash in December 1967 — mere months after he electrified a mostly white Monterey audience that had also witnessed Hendrix, Joplin, the Byrds and the Springfield. Ironically, his biggest breakthrough, the moving “(Sittin’ On) The Dock of the Bay,” wouldn’t even pierce the charts until after his demise. Still, the classics he left behind in a relatively short period earned him a permanent presence in the lexicon of great contemporary singers — one who is yet to be bested, and likely never will.
Shout/Rhino’s new two-disc compilation — boasting a CD of greatest hits and a DVD of live performances captured the year before Redding’s death — provides a brief summary of the man’s brilliance; a mere introduction at best. The numbers forever identified with Redding make the cut: “Dock of the Bay,” of course, “Respect,” “Try a Little Tenderness,” “I’ve been Loving You Too Long” — the better-known songs that defined Otis’ magnetism and his ability to adroitly shift from finesse to frenzy. Watching him drive himself with such exhilaration and determination, as seen on the video performances of “Shake” and “Satisfaction” (each included twice on the DVD for good measure), verifies the emotion he exuded each time he took the stage.
A singer for the ages, Otis had a talent that was eternal. In the face of such greatness, “brilliance” is an adjective that doesn’t even begin to suffice. Pick up this package, and you’ll quickly understand why. (Shout! Factory 2009)
Lee Zimmerman
10/30/2009
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David Nail: I’m About to Come Alive
RIYL: Vince Gill, Kenny Chesney, Train
That cha-ching sound you just heard was the royalty cash register for another mainstream pop/rock songwriter, as a country music artist has not just cut a song by the band Train, but made it the title track for his MCA Nashville debut. The artist is David Nail, and while Nail has endured ups and downs and at least one failed move to Nashville, the story has a happy ending, or at least a happy middle upon the release of I’m About to Come Alive, which might also be symbolic for the young artist. Nail has co-written about half the material here, and it might be curious that he’d go with a full blown cover song as his title track, but if you follow Train at all, you know it’s one of their best and most heartfelt songs. And it comes a couple years after Gary Allan had success with Vertical Horizon’s “Best I Ever Had.” But back to Nail, because he and producer Frank Liddell have managed to put a set of tunes together that is as good or better than anything Nashville has produced in the past decade. And the same can be said for Nail’s powerful vocal ability. Of course the title track is stellar, but there are some other beauties on here, especially “Red Light” and the Garth Brooks-ish “Looking for a Good Time,” the latter of which features some pretty guitar work. (MCA Nashville)
Mike Farley
10/29/2009
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John Coltrane: Side Steps
RIYL: Red Garland, Sonny Rollins, Gene Ammons
If you’re looking for the soul-stirring genius of John Coltrane’s peak years, you’re not going to find it anywhere on Prestige’s five-disc box set, Side Steps. As an insight into Trane’s early development, however, this is exactly the place to start – and end – your search. The set chronicles the tenor legend’s brief period as a hired gun for established players like pianists Red Garland, Mal Waldron and Tad Dameron, fellow tenor player Gene Ammons (for whom Coltrane provided his services on alto instead), and even Sonny Rollins. No, none of those brilliant 1950s Miles Davis sessions for Prestige are here (Trane was a regular member of Miles’ band, as opposed to a freelancer), and as Miles had him under his regular employ, those recordings don’t fit the theme. But there’s plenty of prime hard bop to be enjoyed here, all recorded during the years 1956 and 1957, packaged with illuminating essays, detailed discographical information and plenty of photos. Newbies to Trane will want to start with his Atlantic Recordings, but working backwards from that point, Side Steps goes one further to complete his recorded history with class and style. (Prestige 2009)
Michael Fortes
10/23/2009
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Los Lonely Boys: 1969
RIYL: Santana, Blind Faith, The Doors
The Texas power trio loves classic rock and that affection is on display here with an EP featuring covers of five tunes from one of the greatest years in rock history, 1969. Santana’s “Evil Ways” kicks it off with a showcase for Henry Garza’s blazing lead guitar skills. Blind Faith’s “Well All Right” and the Beatles’ “She Came in Through the Bathroom Window” both receive the “Texican” treatment and become groovier than the original versions. The band makes the songs sound like their own with upbeat arrangements where Garza’s soulful vocals intertwine very nicely with his guitar playing. There are also jamming wah-wah solos at the end of each.
Tony Joe White’s “Polk Salad Annie” is the most obscure track on the disc, but it’s a bluesy rocker that fits right in. The Garza brothers close it out with The Doors’ “Roadhouse Blues,” which also receives an infusion of wah-wah before blowing up into a turbo-charged jam. All the songs retain a classic sound thanks in part to mixing by Andy Johns, the engineer who recorded the original version of “Well All Right” (as well as working with Led Zeppelin and the Rolling Stones.)
These artists are all obvious influences on Los Lonely Boys. But since there would be no point in making an EP of covers that sound just like the originals, it’s fun to hear the band do a strong job of re-arranging the tunes so that anyone of them would fit right into their live set. (R.E.D. Distribution 2009)
Greg Schwartz
10/22/2009
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Tim McCarver: Sings Songs from the Great American Songbook
RIYL: Frank Sinatra, Harry Connick Jr, Nat King Cole
Tim McCarver was a heck of a baseball player and is, despite the fact that many of you find his broadcasting annoying, a fantastic color analyst who teaches us more about the game with each passing telecast. He’s also blessed with a set of pipes that have granted him a long career calling games. But for those of you expecting a train wreck on McCarver’s debut as a singer, Tim McCarver Sings Songs from the Great American Songbook, you might want to save those eggs and tomatoes for someone else. We’ll give you that he’s nowhere in the class of crooners who made or make their living doing that, because you can certainly hear the green in McCarver’s wavering vocals at times. But for the most part, McCarver does a stand-up job on songs, that, let’s face it, are not easy to sing. It’s a nice little set of tunes, and among the best are the opener, “On a Clear Day,” the bouncy “I Wish I Were in Love Again,” and the one that he makes very believable giving his background, “There Used to Be a Ballpark.” Nobody expects McCarver to quit his day job, but he’s going to exceed lots of expectations with this one. (Archer 2009)
Tim McCarver at Archer Records
Mike Farley
10/22/2009
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The Mother Hips: Pacific Dust
RIYL: Crazy Horse, the Eagles, New Riders of the Purple Sage
Granted, any band that’s been around more than a decade and a half should have been picked up on the public’s radar by this time, and the fact that the Mother Hips have barely registered a blip doesn’t exactly offer any sort of attribute in their favor. It’s a misfortune they lament on “Third Floor Story,” a tale of record company imbroglio that ranks as one of several highlights on this otherwise agreeable new album, their seventh outing to date and possibly their best shot at routing the indifference that’s greeted them thus far. Indeed, based on the evidence offered herein, there’s no reason why this California combo ought not finally win the following that’s eluded them so long. Faithful purveyors of West Coast country rock, with more than a hint of a ‘70s sensibility, they serve up unfettered melodies that once would have invited radio play and the adulation of the masses. Songs like “White Falcon Fuzz,” “One Way Out” and “All in Favor” recall the dusty, free-wheeling affinity that made the Eagles, Neil Young, the Jayhawks and others of that ilk rank so prominently as heartland heroes. Perhaps their problem lies in the fact that they could be perceived as retracing terrain that was so widely traversed more than 30 years ago, and is now considered somewhat out of sync, especially given competition from boy band wannabes, unrepentant rappers and the various other pop pretenders that dominate the charts these days. Too bad – it may not be hip to like the Hips, but when it comes to mining a solid, road-weary sound, they become the Mother of reinvention. (Camera Records 2009)
Lee Zimmerman
10/22/2009
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Angel Taylor: Love Travels
RIYL: Vanessa Carlton, Kate Voegele, Cobie Caillat
No album in the last five years has brought out the big brother in us quite like Angel Taylor’s Love Travels has. The former California coffeehouse singer has assembled an album of mannered piano pop so wistful that it should come with a bonus CD of heavy sighs to play concurrently with the album. If we ever meet Ms. Taylor, the conversation will start with us giving her a big hug, tousling her hair and assuring her that everything will be all right, sweetie. She’s not exactly reinventing the wheel here, but the songwriting has a throwback feel to it, lifting songs like “Make Me Believe” and the Vanessa Carlton-ish “Chai Tea Latte” over the dreck that passes for adult contemporary pop today. And, thank heaven, Taylor has no use for melisma-inspired vocal runs, preferring to keep things simple. That is one trend we hope picks up some more steam. If you have a sensitive tween girl in your life, this is the album for her. And her mother. (Sony 2009)
Angel Taylor MySpace page
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David Medsker
10/21/2009
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Or, The Whale: Or, The Whale
RIYL: The Jayhawks, The Parson Red Heads, Wilco
Note to Alison Krauss and Bob Dylan: give Or, The Whale a call next time you’re looking for a hot young opening band to help carry your Americana torch. Indeed, a tinge of that days-of-old feeling permeates the sweet, harmony-laden sounds of San Francisco’s rising alt-country starlets in Or, The Whale. On the band’s self-titled second album, steel and acoustic guitars provide the rural flavor, and the vocals of Lindsay Garfield, bassist Justin Fantil, keyboardist Julie Ann Thomasson and guitarists Alex Robins and Matt Sartain seal the deal. They lead, coalesce, and otherwise intertwine in ways that suggest a deep down happiness that transcends the heartbreaking subject matter, like the agoraphobe in “Never Coming Out” and dead dog lament “Datura.” These are all fine and dandy, but the album’s clincher is the slow building centerpiece “Count the Stars,” where sound, feel and execution meet to achieve a harmonious balance that rivals the one inherent in the band’s own vocal strength. (Seany 2009)
Michael Fortes
10/21/2009
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Alice in Chains: Black Gives Way to Blue
RIYL: Soundgarden, Godsmack, Staind
In a sense, the fact that Alice in Chains have reformed and released a new album isn’t all that improbable. Though their earliest albums were marked by the passionate, fiery vocal performances of original lead singer Layne Staley, he began to withdraw during the band’s later years as his addictions got the best of him. By the time of the band’s final, self-titled album in 1995, Layne – who eventually died of an overdose in 2002 – sounded almost like he wasn’t really there, a shadow of his former self.
Fourteen years after the original band’s swan song, Layne Staley’s ghost is ever-present throughout Black Gives Way to Blue. Guitarist and chief songwriter Jerry Cantrell blended his voice so well with Layne’s back in the day that whether he’s singing to his own multi-tracked vocals or in harmony with new lead singer William DuVall, one could be forgiven for thinking that Layne had come back from the dead to add his stamp to the record. Not only that, the album has more in common with Alice in Chains than with any of the band’s other records; Cantrell shares the lead vocal spot more frequently than he did on Dirt or Facelift, the overall tone is more melancholy and dire than manic mindfucks like “Sickman,” “Real Thing” or “Them Bones” ever aspired to be, and other than “Take Her Out” and the catchy lead single “Check My Brain,” pop hooks are few and far between.
While the title track tastefully pays tribute to the band’s fallen singer, its much-hyped Elton John appearance on piano ultimately disappoints; what could have been an epic memorial and a signature piece of the reborn band comes off more like a demo, and one that’s still searching for a bridge and a suitable conclusion, ending far too soon. Even now, Alice still has one up on copycats like Godsmack and Staind, but Black Gives Way to Blue falls just short of what they’re truly capable of achieving. (Virgin 2009)
Alice In Chains MySpace
Click to buy Black Gives Way to Blue from Amazon
Michael Fortes
10/21/2009
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