Unedited Music / Album Reviews by Bart Mendoza, 1990 - 2006. These long out of print writings ran in various publications, including the San Diego Union / Night & Day, Citybeat, Crawdaddy, La
Jolla Light, SD
Musicmatters, SLAMM, San Diego
Romance.com etc. This is: PART I / A-J
The After Party – Yes Sir – (Rowboat) ***
With an excellent mix of musicianship,
production and especially song writing skill, the After Party’s first album is
an impressive debut. The group’s music takes in elements of punk, new wave,
glam and powerpop for a sound that’s built around melody, and an album that
feels like a collection of singles. Top spot goes to opening melancholy rocker
“You Said It,” but there is no shortage of gems here. These are songs meant to
be played loud and shouted along to, full of youthful energy and real passion,
resulting in an album that you will play again and again.
Richard Ashcroft-
Alone With Everybody (Hut/Virgin) -
Anyone who enjoyed the music of late, lamented UK act the Verve will find pretty much everything in place on ex-lead singer Richard Ashcroft's solo debut, "Alone With
Everybody". The stylistic shift is
minor. There is a move away from the jam based electric guitar sounds of his
former group, and a new focus on groove oriented tracks and acoustic
instruments, but the overall feel is
still the same. No real surprise as Richard Ashcroft in many ways was the
Verve. And that's the major problem here. The material is strong
enough, but doesn’t break new ground, coming across like a continuation of his
former group rather than a progression. Leading off with "A Song For
Lovers", already a #3 UK
hit, the 11 mid tempo cuts here are full of sweeping strings and reflective
lyrics, as epitomized by his former bands massive worldwide hit "Bitter
Sweet Symphony". A signature sound to be sure, but one which dulls the
effect of an otherwise decent first effort.
Brian Auger - "Voices Of Other Times" - Miramar
Fans
of Brian Augers signature Hammond Organ sound, will find much to like on
the latest album from his group Oblivion
Express. Mixing Latin jazz and funk, the group delivers ten tracks, which if
not as inspired as his sixties heyday, still proves Brian Auger to be an
exciting keyboard wizard. Daughter Savannah
takes the lead vocals on the majority of the cuts included, giving the material
a sound not unlike a grittier, earthier Basia. However, the best material here
are the three instrumentals, notably the cover of Marcus Miller's "Splatch", which
give Brian Auger a chance to stretch out and dazzle a bit with his instrumental
prowess.
Backstreet Boys - The Hits, Chapter One (Jive) *
While
a few songs on this first Back Street Boys hits collection are certainly
catchy, every track here is also faceless radio fodder, and could be by any of
a number of acts, it's that generic. This is over produced, ultra slick R&B
inflected pop, all by the numbers, with few redeeming qualities. Odds are, if
there should ever be a "Chapter Two", it will sound exactly like this:
Appalling. – Night & Day
Barenaked Ladies:"Disc One: All Their Greatest
Hits 91-01(Reprise 48075)***
Combining
a decade of hits along with a few stray tracks, plus a couple of new tunes,
this compilation from Canada's Barenaked Ladies, will delight both longtime
fans as well as make a wonderful introduction for newcomers to the bands
winning pop rock sound. With hits such as "Brian Wilson", "It's
All Been Done", and "One Week", amongst the 19 songs included
here, this is an indispensable purchase for fans of modern pop rock.
Beachwood Sparks (Subpop) *
Obstensively a stepping
stone between albums, this latest EP from psychedelic country rockers Beachwood
Spark's will likely disappoint all but die hard fans. Quirky to a fault, the
tunes meander aimlessly, with only the closing "Ghostdance 1492"
showing any of the fire that made this group indie favorites. For completists
only.
Daniel Bedingfield - "Gotta Get Thru This" (Island) ***
Although
Daniel Bedingfield has become known as a dance act, through the hit title
track, his first album is actually much more a pop and r&b affair. Recorded
largely alone in his bedroom studio, this is a seamless blend of genres that
also touches on well crafted funk, rock and electronica, for an ambitious
collection of tracks. Clearly influenced by the likes of Stevie Wonder, George
Michael and the Art of Noise, cuts like soaring ballad "If You're Not The
One" or jangly rocker "He Don't Love You Like I Love You" sound
custom made for radio, but there is no shortage of hit potential on this very
promising debut
Catheryn Beeks – Songs For Sale (Self released)
Collecting material
recorded between 1998 and 2002, this effectively shows some significant growth
in Beeks tunesmithing with the top material coming from the more recent
sessions. You’ll find the expected ballads, and also some bar room rock. Best
of the songs is probably taut rocker “You Got My Heart,” but even when the band
occasionally strays into cliché, Beeks voice carries the moment. Citybeat 03
2004
Adrian Belew – “Coming
Attractions” – Thirsty Ear 57082
It’s been said that many performers are multi faceted. On “Coming
Attractions” Adrian Belew takes that notion to new extremes. For all intents
and purposes a one man various artists compilation, the album gathers up
material from six of his different recording projects- works in progress with
varied musical styles. Songs range from live solo acoustic recordings (“Inner
Revolution”) to the sort of multi tracked guitar acrobatics he’s honed as
sideman for acts such as David Bowie, and as a member of King Crimson
(“Predator Feast”). Unfortunately, despite the high quality of the material,
the sheer variety of musical styles on display here can make for a disconcerting
listening experience, not unlike having your radio randomly change stations
every couple of songs.
Belly - "Sweet Ride" (Rhino)***
Fan's of alternative rocker
Tanya Donelly will love this career retrospective for her early 90's group
Belly. Collecting the hits alongside a generous smattering of b-sides,
compilation rarities and live tracks, the 18 tracks here showing the band's
range to have been incredibly varied. High points include French language piano
ballad "Judas Mon Coeur" and a cover of Disney's "Trust In
Me" from the Jungle Book, but there is no shortage of great rockers such
as "Slow Dog" here either. Whether you're a die hard fan or just
checking out Donnelly's early days, you'll find "Sweet Ride" to be
essential listening.
Berkley
Hart – Twelve
– (PSB) ***
Now on their third album, Berkley Hart show once again why this duo
is perched at the top of our local singer-songwriter scene. The pair deliver
fourteen country and folk tinged gems, ranging from the twangy honky tonk of “Rodeo Heart” to the rollicking “Big Bad
Barbie Doll,” with their trademark harmonies firmly in place. Using some of San
Diego’ top musicians, including pianist A.J. Croce, guitarist Gregory Page and
multi instrumentalist Dennis Caplinger, the two have constructed a confident
album, with material that’s as strong as any they’ve ever crafted. Top cut here
is the opener “Across the Rubicon,” with the Beatle-esque “Holding The Sun” a
close second, but this collection is as good as it gets, with one sing-along ‘soon
to be favorite’ after the other. (Night
& Day)
Better Than Ezra - Closer - Beyond **
Better
than Ezra continue to update the powerpop sound on their 4th album,
adding both beats and orchestral flourishes for a polished radio friendly
sound. A few cuts fall to cliché, but at it's best, songs like bouncy sing a
long "Rolling" and the folk flavored "Get You In" have an
inventiveness to their arrangements that are as charming as they are inspired.
Big Mountain – “New Day” (Rebel Ink) ****
Although
released just a tad early, with it’s reggae and soul-tinged sound, “New Day”
looks likely to be a summertime smash. This is toe tapping festival music at
it’s best, full of grooves, and incredibly catchy melodies, custom made for
dancing. It’s hard to pinpoint a standout among the gems here, but highlights
include “Tierra Indigena”, which features a guest appearance from Los
Alacranes, and the dreamy pop oriented “Baby Stay”. With it’s lush production,
soaring harmonies, horn section accents, and most importantly solid, hook filled
song writing, this is easily Big Mountain’s finest album to date.
BR549 - This Is (Lucky Dog)***
For
their 5th album, BR5-49 continue to expand musical boundaries,
challenging listeners with their mix of country, rock and pop. From the
plaintive ballad "The Game" to the bands driving take on the Everly
Brothers "The Price Of Love", the 11 cuts on "This Is"
easliy show why BR5-49 are one of the brightest new stars on the Nashville
music scene today.
Burnside Project – “The Networks, The Circuits, The
Streams, The Harmonies” (Bar None) ***
It
would be nearly impossible to pinpoint all the musical influences on this
inspired release. At times it’s electronica, at other times it’s indie rock,
and it manages to touch on all points in between, always intriguingly
inventive. Top cuts include the sample heavy “Repeat After Me”, with the trance
flavored“Roll The Credits” a close second, but if you like your music
adventurous and beat oriented, then this album will be a quick favorite.
Butthole
Surfers - Weird Revolution (Hollywood)
**
Practically
a kaleidoscope of influences, the latest opus from Arizona's Butthole Surfers, is. An
interesting mix of hip-hop, rock and roll and spoken word social political
rhetoric, it's the albums lack of focus, that inevitably keeps "Weird
revolution" from being successful. And that's a shame as there are some
great dance tracks here, particularly "Get Down", which sounds like a
lost classic by 80's soul group Cameo. Ultimately "Weird Revolution"
is unlikely to win many converts, but still has it's moments.
Richard Butler – RB (Koch) 4/18 ***
Fans of Butler’s
distinctive, gritty voice and penchant for epic choruses will find everything
in place here, though he has updated his sound just a bit. Replacing rock with
touches of electronica, the strongest tracks echo his work as front man for the
Psychedelic Furs, with one of the best tracks, “California,” even revisiting the character
of “Caroline,” last heard from on the ‘80s hit “Pretty in Pink.” Full of
contemplative lyrics, and mid-tempo beats, this is a solid effort that shows Butler
still has more than a few worthy few musical tricks up his sleeve. Night &
Day Reviews March 2006
Calexico
- "Even My Sure Things Fall Through" (Quarterstick) **** Night &
Day
Eclectic
would be an understatement for an album that opens with the cool jazz
vibraphones of "Sonic Wind", and follows it closely with an authentic
sounding Mexican folk song styled instrumental, "Banderilla". This
latest album from Calexico has a truly rare depth of influence. With dashes of
Mariachi music, jazz, garage rock and even bits of Mancini styled passages
throughout, "EMSTFT" almost gives the impression of a particularly
great soundtrack or various artist compilation. Well written, brilliantly
arranged (a lost art), "EMSTFT" should rightly end up on most critics
top ten list for the year. It certainly will on mine. Definitely a group to
watch out for.
Paul
Carrack - It Ain't Over (Denon 17270) **
Best known for his work with Squeeze,
Carrack's latest album does indeed sound similar to the beloved British pop
institution, only with tunes that don't quite match that groups great
songwriting. Opening strong with "She Lived Down the Street," the
album quickly loses steam degenerating into cliched blue eyed soul. Fans of
latter day Nick Lowe or even Hall and Oates may find a few moments here to set
the toes a tapping, but overall, the album's lack of strong material hinders
it. (Night & Day)
Eva
Cassidy - "Imagine"(Blix
Street) ***
It's a testament to the late singer Eva Cassidy's talent,
that 5 years after her passing, her music continues to top charts around the
world. This latest posthumous collection gathers up demos, live cuts and
outtakes for a surprisingly cohesive set sure to delight long time fans. Top
cut is easily "I Can Only Be Me", a Stevie Wonder penned ballad, with
gospel overtones, that shows off her voice beautifully, but it's a tough
choice.
With tunes ranging from the cocktail jazz of "You've
Changed" to the near cliché standard "Danny Boy", there is
something here for just about any discerning pop fan.
(Night
& Day)
local
jazz aficianados will be thrilled with trumpet virtuoso Gilbert Castellano’s (Websters Last Word 9901) eponymous new
release. Now clearly at the fore-front of the local jazz scene, Mr. Castellanos
latest is a wonderful mix of compositions from jazz legends, including tunes
from Lee Morgan and Joe Henderson, and original material steeped in the classic
tradition. His Hammond B-3 Quintet is a marvel as well, particularly guitarist
Anthony Wilson – just check out his tasteful solo on lead cut “Roll Call”. But
it’s Mr. Castellanos show all the way, and the nine cuts here are all top rate.
It’s just a matter of time now before the rest of the country discovers this
home town talent… La Jolla Light
Charlatans
UK
- Wonderland (MCA) ****
Fans
of The Charlatans patented Brit pop sound will be in for a major shock from the
first track of their latest album. Gone for the most part are the sixties
focused keyboards and groovy, swinging London vibes, replaced by a dance
sensibility and a new found love for soul music, circa the late seventies.
Surprisingly, it's quite successful. The influence of Sly Stone, and especially
Prince abound, and the band is up to the task. While it's a bit disconcerting
at first to hear Tim Burgess's falsetto vocals, the sheer strength of the
material makes this an unqualified triumph. Top track here is easily "Love
Is the Key"- as hook filled a dance floor filler as you're likely to find-
but there are many gems to choose from here.
Chumbawamba
- "Readymades" (Republic) ****
Longtime fans will be in for quite a
shock on Chumbawamba's 10th album, "Readymades". While the
band still tackles political subjects, gone are the rock touches, now replaced
with breakbeats, pop influences, and especially notable, samples of traditional
folk music. In the process they have produced their best body of work to date.
The 13 songs have a touch of whimsy to them missing in previous efforts, which
make songs like "Jacobs Ladder" about the loss of 1591 sailors during
a WW2 campaign, an incredibly catchy history lesson. An airy orchestrated
production gives the album a dreamy quality, but what truly makes this album
stand out is it's seamless melding of olde world music with modern pop and
dance music.
Chumbawumba
– Readymades And Then Some (Koch) *** Always changing, this eight piece band’s
11th album finds them mixing break beats with folk music. It’s a
surprisingly seamless meld, with songs like “Jacob’s Ladder” and “Don’t Try
This At Home” taking on a spiritual feel, albeit with a downtempo dance beat.
The addition of a bonus DVD disc makes this a must for fans of the band or even
folk afficianados who like to see musical boundaries stretched a little.
The Church - "After Everything Now
This" (Thirsty Ear)-** Night & Day Feb 2002
The
Church 's moody psychedelic pop sound has held up well through the decades, and
this album is a welcome addition to their cannon, if not quite up to the peak
of "Starfish". Top track is easily opener atmospheric rocker
"Numbers", but the album is full of gems. A welcome return to form
from this long running Australian group.
The Church - "Forget Yourself" (Spinart
134) **
Now entering it's third decade, The Church show no sign of letting up
in the slightest. On the contrary, their latest CD is the prolific bands finest
in quite some time. The quartet still offers up a dense, guitar feedback laden
sound, but this album rocks a little more than usual, upping the energy level
on a terrific batch of songs. Catchiest tune here is the appropriately titled
"Song In Space, " but the whole album ranks with their best work.
The Church - "Parallel Universe" -
(Thirsty Ear) ***
An
interesting experiment, this latest 2 disc offering from the long running
Australian group, the Church, mixes 10 adventurous mixes of songs from their
"After Everything, Now This" album with a half dozen outtakes from
the same sessions. While their signature dreamy pop tinged sound is still at
the forefront, the new song versions are far more dance oriented than anything
the band has attempted before. New fans should check out the original album
first, but die hards will need this in their collections regardless. (Night & Day)
The Churchills- "You Are Here" (Abrupt/Universal)
-
East
coast quartet The Churchills deliver an eclectic collection of energetic
powerpop ranging in style from the music hall aspirations of "Cars"
to the slightly funky and radio friendly "Beautiful". However while
the first half is certainly pleasant listening, it's the closing 6 cuts that
elevate the album from simply pretty good to truly inspired. "Gonna Take A
Lot To Stay" comes across like prime era Cheap Trick fronted by the
Knack's Doug Fieger, while the glam flavored album closer "Maybe Make Me
Okay" is hands down the power pop anthem of the year. Easily one of the
best power pop albums in recent memory. (Night & Day)
Leonard
Cohen - "The Essential" - (Columbia)
***
This
comprehensive, career spanning anthology, is the perfect introduction to the
work of poet and songwriter Leonard Cohen. Ranging from simple recordings of
voice and acoustic guitar, such as his 1967
classic "Suzanne", to a synthpop "First We Take
Manhattan", the scope of the material is simply breathtaking. Fans of the
singer songwriter genre will find this to be a worthy collection that really
does live up to it's title, "Essential". (Night & Day)
Phil
Collins - "Testify" ** Night & Day
It's
not that Phil Collins latest album is particularly bad, it's that it's bland.
There is no spark, no sense of passion, a matter only highlighted by the albums
dated production and cliched melodies. Lead track "Wake Up Call" at
least kicks up the tempo a little, but the album soon descends into morose
balladry with some truly cringe worthy lyrics, making this an album strictly
for diehard fans. (Night & Day)
The
Color Red - "Clear" (RCA 68080) ** Years in the making, The Color Red's
major label debut is also sadly lacking. Highpoints include "The Other
One" with a particularly catchy chorus, and "Intro/Season",
which switches gears midway to good effect, but after a while the similarities
between the songs and droning tempos wear thin. While certainly performed with
energy, conviction and skill, little of the music on The Color Red's
"Clear" truly stands out. (Night & Day)
The
latest by A.J. Croce, “Transit” (Higher
Octave 48753), can basically be summed up with one word- “Wow” and don’t
forget the exclamation point. This could very well be the album to make AJ
Croce a household name. He keeps his rich soulful voice at the fore and there
are still hints of New Orleans
in his music, but his range now extends soulful rock with dashes of classic
pop. The killer here is lead off cut “Maybe” with it’s chiming descending
chorus, but the 12 tracks here all add up to the finest album of his career….. (La Jolla Light)
AJ Croce – Cantos (Seedling) ***
With his first release on his own label, Croce has hit a
home run. Much more focused on his piano playing than some of his previous
albums, Cantos dozen tracks show his
songwriting to have taken major strides, with everything coming together
superbly on tracks such as “I Should’ve Known.” The album includes a version of
Paul McCartney’s “Maybe I’m Amazed,” which is certainly well played and
performed, however Croce’s original material easily overshadows it. Night &
Day Reviews March 2006
Roger
Clyne & the Peacemakers
- "Sonoran Hope and Madness" (Emmajava 18776) ** Night &
Day Feb 2002
Arizona's Roger Clyne & the Peacemakers
continue to pull from a stylistically broad palette of influences on their
second studio release. From Mariachi, folk and country to pop and straight
ahead rock and roll, "Sonoran Hope & Madness" covers a lot of
ground resulting in a challenging but ultimately rewarding listen. Although
there is no shortage of uptempo radio ready numbers, the band seems to work best
with the quieter folk inspired tunes, but that’s a minor quibble. Highpoints
include the sweet melodic "Sleep Like A Baby" and the anthemic
"Smaller and Better Things", but each listen will reveal new things
that'll make you smile.
Cosmologic – III
Improvised music is not for everyone, but jazz fans will
want to give this a listen. The quirky tempos and occasional free-form
segments, not to mention songs that can top eleven minutes, will likely drive
away casual listeners, but those who like their music on the adventurous side
will love it. The focus here is on the saxophone work of Jason Robinson, who
turns in the album’s best track, fuzz guitar based “Blacon (Beyond the
Divide),” and trombonist Scott Walton. However, the group’s MVP is easily drummer
Nathan Hubbard, who in addition to percussion is credited for composing half
the album. - Citybeat March 2006
Davenports
"S/T" (Mother West ) **
A
dozen cuts of excellent power pop from the New York quartet who recently added
transplanted San Diegan and bassist Thomas Ward to their group. "Heather's
A Genius" is easily the most radio friendly track here, with the lush
orchestral setting of "You're On Your Own" a close second. From the
lush Beach Boys styled harmonies of some songs to the Cheap Trick type power
chords of others, this is as strong a collection of tunes as the genre has
produced in some time. (Night & Day)
Sammy Davis Jr. – “Sammy
& Friends” – Rhino 75934
Twenty cuts of Sammy Davis Jr. at his Rat Pack
prime, covering the years 1960- 68. Amongst the friends referred to in the
title are Frank Sinatra, Sam Butera, and Bing Crosby who join in, but don’t
overshadow, although Dean Martin’s vocal interplay on “Sam’s Song” comes close
– they must have had a lot of fun in the studio. The songs on this collection
consist primarily of his “showstopper” type material, complete with Las Vegas big band
arrangements, conducted by the likes of
Mort Stevens, Nelson Riddle and Benny Carter. Among
the tracks included here are such standards as “What Kind Of Fool Am I” and
“Straighten Up And Fly Right”, the material being culled not only from various
albums and singles, but from such key movie soundtracks as “Oceans 11” and
“Robin And the Seven Hoods”. Not a career overview, but a glimpse an artist at
his peak and easily the one essential Sammy Davis Jr. CD to own.
Dead Meadows – Feathers (Matador) *
While this group’s brand of heavy psychedelia hits all the
right marks for authenticity, including plodding drums, fuzzed out guitar and
lots of reverb, unfortunately, their songs are lacking. Despite a few decent
moments such as the opening to “Stacy’s Song,” the absence of good melodies
makes this an album unlikely to make it to a second listen. Night & Day
Reviews March 2006
Death Cab For Cutie – “We
Have The Facts And We’re Voting Yes” (Barsuk Records)
“We Have The Facts”,
the second release from Seattle
quartet Death Cab For Cutie, is a fascinating indie album. Built on quirky
rhythms, introspective, personal lyrics and melodic sensibilities, the tone of
the album is conversational, almost as if main songwriter Benjamin Gibbard were confiding in the listener. The end
result is a well balanced 40 minutes of dreamy pop, heavy on reverb and
atmosphere. From up tempo songs like “Company Calls” to the reflective “The
Employment Pages”, the group infuse's their tunes with an intricacy, sadly
missing in much of today’s music. The only problem with Death Cab for Cuties
latest is that at 10 songs it’s far too
short.
Departure Lounge - "Too Late To Die Young" **
Night & Day Feb 2002
On
Departure Lounge's sophomore release, "Too Late To Die Young" quirky
rhythms and folk instruments blend with samples for a sound somewhere between
Tom Waits and Ennio Morricone, courtesy of their new producer DJ Kid Loco.
Although originally from the UK,
the bands love for Americana saw them recording
in Nashville,
joined on a "Alone Again, And" by Robyn Hitchcock and ex-Cocteau twin
Simon Raymonde. It's unlikely that this album will have much impact, as it just
may be a little too off center for the average listener, but for the
adventurous music fan, there is wealth of great material here.
Neil
Diamond - Three Chord Opera (Columbia)
**
Still
going strong after more than 35 years as a pop icon, Neil Diamond's latest
opus, "Three chord Opera" is a collection of songs as strong as
anything he's released post "Jonathan Livingston Seagull". There are
no surprises here, just exactly what you'd expect: a smattering of horns,
occasional strings and Mr. Diamond's patented over the top vocal style.
Unlikely to make many new converts, but fans are going to love "Three
Chord Opera".
(Night
& Day)
Donna's - Turn 21
Live they're an awesome act, but file this latest album
under "almost". You often hear the Donnas compared to the Ramones and
while their music has some of the same energy and even spirit, that comparison
also points out the problem. This sounds rather antiseptic. Oh "Turn
21" rocks hard enough, but the album distills down to song after song of
monotone guitar drone, with straight down the middle double tracked vocals.
Everything to a minimum. Every part exactly where you'd expect it. This comes
across like a bunch of demos before even the barest of overdubs. Shame as there
are some great songs here- just check out "Do You Want To Hit
It". (Lookout)- BM (Night &
Day)
Dressy
Bessy - "Singles 1997-2002" (Kindercore 80) **
While
the title is a bit of a misnomer - this compilation actually gathers album
tracks and demos, in addition to a couple of singles- it's a wonderful showcase
for some of the band's best songs. Dressy Bessey excel at mixing sixties pop,
with modern, if lo fi recording techniques, with lead singer Tammy Eadon's
vocals adding an innocence to the tracks, particularly the dreamy
"Lipstick". Indie rock fans will love this, but sadly despite some
fine songwriting and great song hooks, the recording quality will likely be a
detriment to many.
Will Edwards Band – If I Did Anything
Right (Self
released) Singer-songwriter Edwards has a great voice, world weary beyond his
years, and a vocal phrasing that places him squarely between Jim Croce and
Jason Mraz. Recorded with a variety of different backing configurations, this
album suffers from too many of the songs being less than upbeat, but still
contains some quality material. The clear stand out here is the title track, a
radio friendly tune in the guitar and congas mode, but “Out On The Line,” a
seventies styled soft rocker, sounds like a lost lounge classic. And I mean
that in the best possible way.
Elbow - "Sleep In The Back" - (V2-2711) ** Night
& Day Feb 2002
Anyone
that remembers the early 90's musical trend "shoegazing", will find a
relative time warp on Elbow's highly hyped debut album, from the sometimes
mumbled lyrics to the dense, lush production. While this is certainly a well
crafted collection of dreamy ethereal pop, the sameness and slow tempo of much
of the material make it little more than aural wallpaper
Faces “Good Boys…”
Warner Archives 75830
Considering this group contained ¾ of the Small Faces, as
well as Rod Stewart, and future Stone Ron Wood, the sum of the parts is a bit disjointed. Their legend is as one of the 70’s top
live bands, however the majority of these studio tracks often come across as a bar bands
boogie styled noodlings, seemingly caught mid jam session. Of course, “Stay
With Me” (recently resurrected by A.J. Croce) is a deserved hard rock classic,
and Stewart, at this point not long from his stint as frontman for the Jeff
Beck Group, sings the tunes with an aloof conviction. An interesting history
lesson.
Marianne
Faithfull - "Kissin Time" (Virgin)****
For
her first album in 3 years, sixties icon Marianne Faithfull has collaborated
with some of modern rock's most celebrated musicians and emerged with her finest music
in decades. Among the contributors are Beck, Damon Albarn and Billy Corgan, the
result being an electronica driven collection of often dark, often
contemplative songs, perfectly suited for Faithfull's distinctive gritty
vocals. Top cuts include "The Pleasure Song" with it's dance coda,
and the gorgeous autobiographical ballad "Like Being Born", but all
ten originals here are fantastic additions to her canon. The biggest surprise
here is the left field inclusion of British Invasion hit "I'm Into
Something Good", in a brilliant recasting, a perfect closer to an album of
heartfelt music. An excellent return to form. (Night & Day)
Neil Finn - "7 Worlds Collide"
(Nettwork 30258) *** Night & Day Feb 2002
Recorded live at a homecoming
concert in Finns native Te Awamutu,
New Zealand,
"7 worlds Collide covers his entire career. Supported by an all star group
which includes Pearl Jam's Eddie Vedder, The Smiths Johnny Marr, Lisa Germano,
members of Radiohead and his brother Tim, material from both of his former
groups Split Enz and Crowded House is covered to great effect. Interestingly
the best song on this disc is a cover, The Smiths "There Is A Light That
Never Goes Out", Finns subtle restrained performance an early highpoint.
The 17 songs here are a wonderful reminder of what a talented and under rated
performer Neil Finn is, as well as a memento of a once in a lifetime group of
performances.
The Fleshtones
- Do You Swing? (YepRoc 2050) ** One of the most prolific indie bands ever, New York retro rockers
the Fleshtones' latest album is cut from exactly the same cloth as every one
that has preceded it. In this case, that's a good thing. Frozen in a time warp,
after 25 years, the group still consistently writes great songs that all sound
like they could've been the soundtrack for any frat party, circa 1966. While
there are certainly no musical surprises here, if you're a fan of garage rock
this is essential listening.
Rosie
Flores - "Speed Of Sound" (Eminent)**
Although
best known for her rockabilly and country stylings, Rosie Flores branches out a
bit on her seventh solo release. Though the focus is still on her signature
sound, notably on covers of Buck Owens "Hot Dog" and Skeeter Davis's
"Rock A Bye Boogie", there is a lighter jazzy touch as well. Billie Holidays
"Don't Know If I'm Coming Or Going" is done to good effect, but a few
of the other tracks don’t fare quite as well, particularly the title tracks
wash of synthesized strings, which come across a little too close to new age
music. It's a bit unsettling amongst the more down home selections. Despite
that minor misgiving "Speed Of Sound" will still appeal to all fans
of Americana,
another gem along the long career path of this former San Diegan.
Ben Folds - "Speed Graphic" (Epic
90647)***
The first in a series of five song EP's set to culminate
in a new album next year, this disc finds the piano pop favorite in superb
form. Top marks here go to the groove laden "Protection," with the
melancholy ballad "Wandering" a close second, but the biggest attention
getter here will likely be a rocking version of the Cure's "In Between
Days." If you're a fan of Folds in the slightest than this is an essential
purchase, while a novice will find it the perfect introduction.
Ben Folds - "Sunny 16" (Epic 90663)
Disc
two in a series of EP's, "Sunny 16" is a more varied proposition than
the first. Edgier and more classic rock oriented, this time out Folds covers U.K.
group The Divine Comedy's "Songs Of Love," but pick of the five songs
is easily quirky rocker "There's Always Someone Cooler Than You." The
only blemish on the EP is "All You Can Eat," which uses profanity to
make it's point, though still sets it amongst some of the best melodies and
piano playing you're likely to hear on radio today.
Folk Implosion - “One
Part Lullaby”- Interscope 3362
Folk Implosion are that rare commodity
these days- a group with a sound all it’s own. Essentially the duo is Lou
Barlow, who’s main group is alt rock faves Sebadoh, and John Davis, with
assistance from assorted friends. Staples of their sound include double tracked
vocals and sloppy skip beat drums, both live and computer. Along with the
group’s obvious knowledge of pop hooks, this forms the foundation for the Folk
Implosions dreamy mid tempo urban pop.
“One
Part Lullaby” is packed with instantly hummable songs. “Serge” takes its cue
from, and includes a sample of the late French composers music. “Free To Go” marries a playful tune, with a
tale that culminates in the chant “You Have To Leave”. This gives an idea of
one of the interesting juxtapositions within the bands music. There are stories
here. Insightful, occasionally
depressing lyrics, combined with a tune that will have your head
sub-consciously bobbing to the rhythm on the first play.
With “One Part Lullaby”, Folk Implosion have
created an album that is a worthy successor 1997’s “Dare to be Surprised” and
their surprise hit, “Natural One”. Of
the 13 songs here, well over half deserve airplay, a ratio few seem to hit these
days. Not bad for a side project.
Steve Forbert "Live At The Bottom Line" -
(Koch) **
Singer- songwriter Steve Forbert returns with a collection
recorded live, with a full band, at New York's famed Bottom
Line. At 20 songs, this is a generous look at a career now in it's fourth
decade. You won't find many surprises, but from the snippet of Chuck Berry's
"Nadine" to his signature "Romeo's Tune", this is a
spirited, inspired performance. Hardly essential, but fun nonetheless.
Steve Forbert - Young Guitar Days (Rolling Tide) ***
Recorded
between 1978 and 1981, this trawl through the archives turns up a number of
gems to add to the country/ folk rockers repertoire. The jaunty "Planet
Earth Song" is a stand out, but top track is a take on
"Suspicion", which easily surpasses Terry Stafford's original hit.
Unlike most archival reissues, the 20 tracks on display here work as a cohesive
whole, the end result a great lost album, from the very beginning of the
performers two decade plus career.
44
Double D - Sex Is Evil *7*
goes
well with the Cramps, Fleshtones. Sex and drugs and rock and roll. Well I don't know about
that middle item, but this album positively drips with the other two. With a
name like 44 Double D and with the album on a label called "Panty
Raid", you'd be correct in assuming that the baser instincts are on the
group's minds.44 Double D has become infamous for their over the top
performances, which include fetish dancers and a look that mixes a bit of
sleazy, kitschy glamour with a 50's vintage sensibility. Stripped of the
trappings and left with the music, they still come up with a winner. Produced
by the legendary Mark Neill, the album captures their live, reverb drenched
sound marvelously.Even the most cursory listen would show Sun Records era
Elvis and the Cramps to be major influences, but despite being in a field that
is sometimes known for cliché, 44 Double D manages to stamp out their own
identity, producing primitive, pounding rock and roll. No small feat. True enough, titles like "Devil's Dance",
"Heavy Petting" and "Sex With A Demon", leave little doubt
to their subject matter. However the band's energetic playing and most
importantly, some pretty killer tunes, make "Sex Is Evil" solid
listening from start to finish. (Citybeat)
Gordon Gano – “Hitting The Ground” ****
Best known
as front man for the Violent Femmes, Gordon Gano’s solo debut, recorded as the
soundtrack for the movie of the same name, features an eclectic batch of
collaborations sung by artists ranging from PJ Harvey to John Cale. Highpoints
include wistful ballad “Oh Wonder” with Mary Lou Lord and a frantic “Run”
helmed by Frank Black, but the whole album is an inspired and wonderful
testament to Gano’s splendid songcraft.
Gomez – Liquid
Skin – Virgin 48218 Despite several chart hits in their native UK, Gomez
remains best known for their gritty rendition of “Getting Better”, inescapable
on a recent series of TV commercials. Their releases are marked with a
trademark sound of quirky instrumentation and liberal trance beats. Add in a
delivery that has the band coming across like Bob Dylan fronting Pink Floyd,
and it’s easy to see why Gomez is one of the few bands left standing after the
demise of the Brit. pop scene of a few years back.
“Liquid Skin” is an impressive sophomore effort. The albums defining musical traits would be
overdubbed acoustic guitars, and especially, lots of echo. The groups use of
strings and exotica such as sitar is to be commended as well. However, the key
here is the songs. And the 11 here flow together as too few albums today do.
Whether it’s the opening cello on the melancholy “We Haven’t Turned Around” or
the sing along nature of “Hangover”, the tunes are well crafted and the
production is impeccable. “Liquid Skin” will be a tough album for them to
follow.
Grandaddy - Concrete Dunes (Lakeshore) ***
If
there's one word that could describe acclaimed British alternative music act
Grandaddy, it would be eclectic. This collection of rarities, b-sides and
unreleased material works wonderfully as a taster for the band, ranging from
acoustic folk numbers such as "Gentle Spike Resort" to more
traditional rock numbers such as "Wretched Songs". Music fans who
like their tunes on the adventurous side will find this new compilation to show
remarkable cohesion and depth, especially considering the myriad of sources.
Gwen
Mars - "Driving A Million" (See Thru 006) ****
For
their sophomore release, Los Angeles
trio Gwen Mars continue to hone their space age powerpop sound to perfection.
Occupying a sonic place somewhere between the Cure and Cheap Trick, the 11
songs here brim with both harmony and song hooks, all with an amazing
production style. Not only are there great songs here, this is the kind of CD
headphones were made for. It sounds great. Best track is a toss up, either the
haunting, string laden "She Hung The Moon", or the sonic blast and
beats of "Lisa Candy", but pop fans will find a solid hook laden
album, pretty much every track a winner.
Daryl
Hall - "Can't Stop Dreaming" - (Liquid 12109) * While little on this
album comes even remotely close to his Hall and Oates eighties prime, Hall
himself is still in fine voice. The material is the problem here, for the most
part generic by the numbers songs molded on classic seventies era Philly Soul
and light r&b. Only the title track stands out, a hook filled gem set
amongst cliches. Diehard fans may enjoy this, but others will find the sameness
of the material frankly boring
Richard X Heyman - "Heyman, Hoosier &
Herman" (Turn Up Records)
The
cover art certainly won't win any awards, but the latest release from powerpop
hero Richard X Heyman, finds the acclaimed singer song writer in fine form. High point is the lead
cut, with Heyman teaming up with Peter Noone, former frontman with sixties
favorites Herman's Hermit. Turning over the lead vocals to Noone on the opening
cut "Hoosier Girl", is an inspired move. Peter Noone turns in a great
vocal, the result a wonderful dreamy mid tempo pop song, with an infectious
minor chord chorus. The remaining cuts don't quite reach the lofty heights set
by that lead song, but pop fans will find a treasure trove of melody on this
worthy new release from an old favorite.
Pete Ham – Golders
Green – (Rykodisc RCD 10481) Crawdaddy
Kingfish – Sundown
On The Highway – (Phoenix
Rising 201) Crawdaddy
These two CD’s have been the biggest surprise adds to my
“keeper” racks. Originally simply 2 more albums in a pile of items for possible
review, what drew me to both was the one thing they had in common. They both
include previously “unfinished tracks”, originally recorded over 25 years ago,
from artists who passed away before their time -now completed with the benefit
of modern technology.
I’ve always considered myself a purist. I want the music to
be heard as was originally created- as the artist intended before his or her untimely
passing. The gray area comes with the music being created with scattered
elements that the artist left behind. Demos, guitar warm up’s, guide vocals and
all kinds of things that wouldn’t see the light under normal circumstances, are
now starting to be used in the construction of new performances. Part of me wants things left the way they
were, as history, and part of me is thrilled to be able to listen to a
previously unheard song or snippet in a state of completion. Blame it on the
Beatles “Free As A Bird”, but the floodgates have well and truly opened now.
There are 2 huge differences between these two albums as
well. First off has to be the fact that Kingfish is the epitome of the classic
early seventies American west coast sound, while Pete Ham, of Badfinger, is
about as Beatle-esque and English as possible. More importantly – all of the
tracks on the Pete Ham release are of an archival nature, while only one song
on the Kingfish CD has that distinction. But when the artist revived in
question is Jerry Garcia, that song can, and in this case does, carry the
album.
“Sundown In the Forest” is
Kingfish’s first studio release in 20 years. Long a Bay Area concert
favorite, and still fronted by Matthew Kelly and the Grateful Dead’s Bob Weir,
Kingfish offers up an energetic time warp of 70’s acoustic rock. Nothing too
challenging, although pleasant enough. The 14 songs range from gospel to blues
concoctions, and include a spirited take on “My Baby Left Me”. Maybe the
production is a little too clean, but “Eyes Of Night” for example, featuring
vocalist Jenni Muldar, is quirky and not too far from what Sam Phillips would
do, given the same material.
The true highlight here however, is “Ridin’ High”, a song
that utilizes previously unheard 1973 lead guitar and chunky rhythm tracks from
Weir’s longtime cohort in the Dead, Jerry Garcia. Thing is, even without
Garcia’s playing, this is a great song. Besides Garcia, standout contributions
include vocalist (and the song’s writer) Bill Cutler, Robert Powell’s pedal
steel and Matthew Kelly’s plaintive harmonica. By the time you get to the
Gospel tinged outro you’ll swear this is a long lost classic. Sadly the song
does stand out on the album, with the other efforts coming off a bit on the
pedestrian side. Still, on the merits of “Ridin’ High”, do search this album
out.
“Golders Green”, on the other hand is the second collection
of posthumously completed demos, taped by the late Pete Ham, that have been
released by Rykodisc. Due to a long term relationship with Apple Records and
his occasional stints as Beatle sideman, (let’s see- for trivia buffs, Pete
Ham’s first hit with Badfinger -“Come And Get It” - was written and produced
for them by Paul McCartney. He also played and sang in the backing band at The
Concert For Bangladesh and played on John Lennon’s “Imagine” and George
Harrison’s “All Things Must
Pass” albums.), Pete
Ham’s gift for songwriting often gets overlooked.
His hits, such as “No Matter What” and “Day After Day” were
just the tip of the iceberg. Only 27 at
the time of his unfortunate passing, he left behind a treasure trove of demos.
The producers of “Golders Greens” are purposefully vague as to exactly what
work has been done to the tracks. However, a quick glance at the list of
musicians on the album shows involvement from many of the current Los Angeles
pop scenes luminaries, including guitarist Jonathan Lea (of the Jigsaw Seen),
bassist Derrick Anderson (of the Andersons) as well as the multi talented Chris
Von Sneirdern.
The key is the material of course, and here we have 20 cuts,
some as short as 39 seconds, recorded between 1966 and 1975. Surprisingly, the songs make a cohesive album
with the first 6 tracks as strong an opening collection of tunes as one is
likely to hear. More than likely the demos were simple guitar with voice
concoctions (though “When The Feeling” is just voice and drums), which makes
the completed overdubbed versions that much more of an accomplishment. Most
amazing of all, although you may guess at the overdubs, the mix and most
importantly the ambience of the tracks is uniform, resulting in a song that
doesn’t sound fiddled with. The spirit and intent of the music comes through.
In particular, the track “Dawn” with it’s muscular bass line and incredibly
catchy jangly hooks perplexes me – I know there are edits in there, but the
song sounds so great, I can’t tell where.
High point of the album is a simple electric
piano demo for Pete Ham’s best known song, “Without You”, here with a different
middle section. But it’s a hard choice – from the bluesy strolling fuzz guitar
of “Pete’s Walk” (drenched in Hammond B3!) to the Kinks-ish over tones of the
acoustic “Hurry On Father”, there is much to recommend on this disc. Funny
enough, after a listening session for these two CD’s, my initial thought was
“How long can they keep unearthing great music like this?” Well, to be sure, I don’t know - but I hope
they never stop.
Hot Club Of Cowtown "Dev'lish Mary" (Hightone)
This Austin Texas trio continues their wonderful blend of
western swing and hot jazz for their third Hightone Records release. The
group's line up consists of fiddle, guitar, bass and vocals, with particular
emphasis on the virtuoso playing of fiddler Elena Fremerman, shown to great
effect in the opening cut "Devil's Dream". The material here is primarily made up of standards, from
the traditional "Little Liza Jane" to the tin pan alley classic
"Stardust", but the fresh arrangements and inspired performances keep
even the most familiar interesting. Other songs of note include
the two original songs, "I'd Understand Why", which balances humor
and romantic lament, and "More Than A Dream", an uptempo dance
number, complimented by muted coronet. There really isn't a bad cut on
"Dev'lish Mary", a solid effort from start to finish. These are 16
tunes pretty much guaranteed to set your toes a-tapping.
Hot Rod Circuit - "Sorry About Tomorrow"
(Vagrant 364) **
Yet
more angst ridden powerpop, from this Kansas
trio. At it's best on such upbeat tracks as the brash, pounding "When I'm
With You I'm Okay", this is infectious hook filled stuff, with bubblegum,
glam and punk on their list of obvious influences. The only real downside is a
bit of obviousness to the lyrics, a point which is particularly evident on the
one truly dire track, "Girl, Here's Another Lie". That said eleven of the dozen tracks here are
as catchy and melodic a bunch of rock songs as you're likely to hear this year.
Dave Howard – Into the Wind (Psuedocool)
The most covered
songwriter in San Diego,
Howard roams the stylistic map on his latest album. Maybe it’s a “catalog” for
other artists to pick over? Most of this is typical acoustic material, though a
notch above the usual coffeehouse fare. However what really stands out here are
the numbers that branch out a bit, particularly “Almost Angeline,” a twangy
rocker which comes as close as to the sound of vintage Nick Lowe as you’re
likely to come across. It’s a testament to Howard’s way with a melody that even
a tune with a lyric as silly as “Fifty Foot Woman,” still manages to annoyingly
ingrain it’s hook in your brain. Citybeat 03 2004
Dave Humphries – Years Away From
Yesterday (Self
released) Maybe it’s the fact that Humphries is originally from England, but
the best tunes on his sophomore release have a distinct Beatle-esque flavor,
albeit mixed in with country and seventies AM pop. This is catchy stuff,
particularly “It’s O.K.,” a dead ringer for prime era Badfinger and the soul
tinged “You Don’t Have To Worry.” The downside is a few cliched rock tracks,
and a couple of obvious lyrical couplet’s, but despite the recordings slightly
less than high fidelity sound, melody fans will enjoy this. Citybeat 03 2004
Iguanas - Plastic Silver 9 Volt Heart (Yep Roc
2038) ***
Now over a decade old, New Orleans quintet the Iguanas continue to
expand their boundaries on their latest disc, with a brilliant encyclopedic mix
of bi-lingual musical influences that makes their sound impossible to
pigeonhole. From the swampy rhythm and blues of the sax driven "Flame
On", to the down tempo Latin groove of "Mexican Candy", and all
points in between, the album covers all bases splendidly. Stand out track is
easily the dance friendly "Zachatecas", but if you like your music
rhythmic and wildly varied then this CD should be mandatory listening .
Irving Klaws - "Pajama Party"
Primitive garage punk edged rock and roll, with most of the
songs about sex, just as you'd expect from a group with a song called
"Pervasonic". Luckily, the songs surpass that, notably on the albums
best track, ode to a prostitute, "Turned Out USA", which despite it's
questionable subject matter, comes in like RFTC before settling on a cross
between the Ramones and the Beach Boys. (Get Hip 1094) - BM
Ivy -
"Long Distance" (Nettwerk) ***
For
their sophomore release, Ivy delivers 13 tracks of light breezy dance oriented
pop. While their debut album seemed a tad overproduced and rushed, "Long
Distance" shows real growth particularly in arrangements. The album
abounds with radio friendly material, with top nod given to the horn drenched
"Lucy Doesn't .Love You", but there is no shortage of winners here.
Ivy -
"Guest Room" (Minty Fresh)***
Fans
of classic pop rock will love East Coast trio Ivy's latest album. Built around
a collection of their favorite cover tunes, the band reinterprets each in their
signature dreamy pop sound to wonderful effect. Vocalist Dominique Durand turns
in an inspired performance, particularly on a dance re-interpretation of the
Cure's "Let's Go To Bed", but there is no shortage of highlights, featuring
as it does both great performances and classic material from a wide range of
artists including the Ronettes and Papas Fritas. Hardly essential, but still a
lot of fun.
Jackpot
– “Shiny Things” (Surfdog) ***
Going
from strength to strength, the latest from Sacramento’s
Jackpot continues the groups wonderful voyage through the sounds of Americana, pop and
alternative rock.” Driven by lead vocalist Rusty Miller’s plaintive voice, the
album opens strong with “Far, Far, Far” and continues through a dozen more
should be radio friendly tunes. Already hailed as one of the best indie bands
in America,
“Shiny Things” could well be the crossover hit the band deserves.
Joe Jackson Band - Volume 4 (Ryko/Restless 10638)
***
Long ago written off as a purveyor of pop tunes, Joe Jackson makes a welcome
return to the sound that first brought him to fame. Reuniting the original band
from all those early eighties classics, Jackson
actually succeeds in recapturing his radio friendly magic with a slew of tunes
that could easily stand alongside any of hits. The only downside is a slightly
muddy production, and some occasionally trite lyrics, but with tunes as catchy
as the farfisa inflected rocker "Dirty Martini" or the ska gem
"Thugz 'r' Us", those are minor quibbles indeed.
James
- "Getting Away With It" (Sanctuary) **
Taped at the band's farewell
concert, this past December, as expected this 2 CD live set is filled with the
groups biggest hits, as well as appearances from band members throughout the
group's career. With such great tunes as their melodic sing along "Getting
Away With It All" or soaring pop gem "She's A Star", it's hard
to go wrong , and the crowd is clearly having a wonderful time. Casual fans are
directed to any of their worthy studio recordings, but as a souvenir of the
group's last stand, "Getting Away With It" is a worthy document.
Jesus
and Mary Chain - "21 Singles" (Rhino) ***,
Although never commercially
successful, Jesus and Mary Chain have been hugely influential. Helmed by the
Reid Brothers, William and Jim, from 1984-98 and hailing from Scotland, Jesus and Mary Chain
specialized in garage rock, often drenched in droning feedback, distortion and
reverb. This collection features all 21 of the groups singles in chronological
order, and lined up like this they show amazing growth. A clear high point is
the sixties imagery in the Velvet Underground influenced "Come On",
but from the early lo-fi experiment "Upside Down" to the later dance
inflected numbers such as "Reverence", this highly under rated band
makes for captivating listening.
Freedy Johnston - Right Between the Promises -
(Elektra) ****
The
acclaimed singer song writers pop roots have never been clearer than on his
latest album, "Right Between the Promises". From the -better than the
original- cover of 70's pop charmer
"Love Grows" to the bouncy, infectious "Save Yourself, City
Girl", this lush, wonderfully produced album will have you tapping your
toes and humming along from start to finish. Easily the best of his four albums
to date.
Judas
Priest - Demolition (Atlantic) **
Original
vocalist and area resident Rob Halford may be long gone from the fold, but new
comer Ripper Owens, once amusingly of a Judas Priest tribute band, more than
holds his own on the British quintet's 14th album. Particularly
noteworthy are such pounding anthemic rockers as "Metal Messiah" and
"Bloodsucker", which would easily fit in with the bands earlier
albums. This is classic hard rock, with sledgehammer subleties, at it's best.
Although there are few surprises, fans of the long running heavy metal quintet,
will welcome this return to form of one of the founders of the "New Wave
of British Heavy Metal".
