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Ribviews
Whether theyre
straight out of the kitchen or have been sitting under a heat lamp for
a minute, here is a sample of releases Ribbers decided to taste. Like
other zines, we have rated them, but with our own complicated culinary
system from one rib (lowest) to five ribs (bestest).
A
B C
D E
F G H I J K L M
N O P
Q R S
T U V W X Y Z
Jerry Lee Surber Hey Guitar (TEJAS Records). 5
ribs-smokin’.
Jerry Lee Surber holds his head up high as he sings his heart out on
his latest release, Hey Guitar. The singer/songwriter has a lot to share
with the world after a near death experience, which left him in a coma
for five weeks in January and February 2000. He found his way back,
fully recovered and is stronger than ever as indicated by his latest
compilation of Texas storied songs, which are dripping with sweat and
tears.
The album begins with the raucous, “Educated Redneck, a nod to
Surber’s ever-present sense-of-humor. What follows is a palette
of different sounds and emotions from the ironically upbeat, “Please
Let Go Of My Heart” to the radio-friendly “Don’t Have
To Love Me Back,” the soulful, harmonica-heavy “Down in
Mexico,” the fiery, wide-ranging, “Showdown (at the Lonestar
Saloon)” and the cheerful ode to his only daughter Shawn Michelle
entitled, “Mornin’ Light.” Surber made his bones in
the band Texas during the 70s’ and has proved he can stand on
his own as a songwriter. There’s a message behind his music, and
it’s time the rest of the world heard it. Will Jordan
Sebadoh III (Domino). 5 ribs
- the freed pig.
All the raw, indie-folk elements bleed through on Sebadoh’s III.
This remastered, re-released album has 41 tracks recorded around the
time of III’s sessions. Sebadoh made their bones in the late 80s’/
early 90s’ with lo-fi basement tapes of gritty, independent folk
grunge, picking up a cult following along the way. III is a classic
from its era and translates well today. Will Jordan
Cordion: Motifs (Beatservice). Could use a bit
more seasoning: 3-½ ribs.
Oslo duo Christopher Johansen and Tommy Jansen pull from several bags
of tricks - most notably totally unnecessary beats and clicks but otherwise
all-organic - to avoid the "stiff as Norwegian wood" schtick.
Drawing inspiration from Euro film tracks, Cordion comes across like
a (very) poor man's Radiohead on cuts like "Relish Words Softly
Spoken" and "Zeigeist" with nice little eerie noise loops,
even taking a Jeff Buckley/Chris Martin turn with "Unfold"
and prominent strings on "Confession of Age." A simple but
seemingly well-thought-out sophomore effort. David Thornton
The Game Doctor’s Advocate (Geffen). 4 ½
ribs-smokin’.
He may have parted ways with former mentors 50 Cent and Dr. Dre, but
The Game’s follow-up to 2005's multi-platinum The Documentary
proves he can stand on his own. Though the new album at times sounds
like a rehash of The Documentary, at least he’s stayed true to
his original themes of gangbanging on the West Side. It starts out slammin’
with a militant intro, “Lookin’ At You” and smokin’
tracks follow. Other highlights include: “Compton,” “One
Night,” “California Vacation” (feat. Snoop). Pop this
one in and bang it loud. Will Jordan
Desmond Decker In Memoriam: 1941-2006 (MVD Audio). 5
ribs - Island flavor.
No reggae collection is complete without Desmond Decker and there is
no better representation of his soul-stylings than In Memoriam: 1941-2006.
Recorded at Roll Over Studios in London on January 2004, this is Desmond
Decker’s last ever recording. It features 20 sweet, upbeat reggae
songs from the popular, “Israelites” to “Hippopotamus,”
“007 (Shanty Town)” and “Problems.” Get it while
it’s still hot. Will Jordan
Jade: Banned in America (ARG). Shave the fat:
3 ribs.
This highly attractive Asian Ofra Haza/Shakira (CD jacket sports no
less than 10 pics of her) who doesn't write any of her own material
opens with an Evanescence edge on "Kiss Me," takes a Q from
Stacey on the downright freaky "Three Blind Mice" and shows
some genuine pop-radio potential on "My Love is Black." Many
of the remaining tracks, however, tend toward sound-samey and, even
worse, ordinary filler - a classic case of a great voice singing the
usual relationship dreck, but at least she rocks occasionally. Check
out www.jade.music.com for an interesting explanation of the album's
title. David Thornton
KT Tunstall Eye To The Telescope (Virgin). 4 ½
ribs - chevreux flambe.
After repeated television exposure with her single, “Black Horse
and the Cherry Tree,” KT Tunstall is gonna be hard to stop. The
catchy song rocks and so does most of Eye To The Telescope. The Scottish
singer/songwriter’s new album has already reached Gold status
in the US and platinum in the UK and is smoking award ceremonies in
both places. From opening “Other Side Of The World” to coda
“Through The Dark,” there is obvious evidence of Tunstall’s
true talent and dedication as a stand-out songwriter. Will Jordan
Rachel Sage: The Blistering Sun (Mpress). Savor
every morsel: 4 ribs.
Admittedly, the pedigree was off putting: another super-sensitive singing/songwriting
girl from the East Village; prestigious ballet school and Stanford drama
degree; ad-jingle author; and the coup de grace, Lilith Fair! Sage,
however, dispels the trepidation right from the start with the Ricky
Lee Jonesy swing of "Alright, OK," the brilliant polka-tinged
story-song "93 Maidens," the soulful "Violet or Blue"
and the jazzy "Lonely Streets." Predictably, things get a
little too Tori Amos by track 10, but that's not necessarily a bad thing.
The lasting impression is that Sage actually sings, unlike the usual
folkie yelp, and a stellar lineup of backing musicians doesn't hurt
either. It ain't rock 'n' roll, but Sage is a pro and it really shows.
David Thornton
Aloha Some Echoes (Polyvinyl). 4 ribs - say goodbye
to taste buds.
A deliberate need to be distinct drives the force behind Aloha. The
album peaks and crashes with every song and moves like a Flaming Lips
soundtrack. Tony Cavallario’s haunting vocals have been slowly
stirred in with his own shaky guitars and keyboards as well as Matthew
Gengler’s thumping bass playing, Cale Parks thundering drumming
and TJ Lipple’s percussive hypnotics. Buckle up for this ride.
It gets pretty odd. Will Jordan
Railroad Earth: Elko (Sci Fidelity). Potbellied
and otherwise: 4 ribs.
Eschewing the bluegrass and jam band labels, this six-piece Americana
outfit echoes somewhere between the Jayhawks and Waterboys on this two-hour,
two-disc live set. No doubt about it, the band's talents are immense
(singer Todd Sheaffer wrote or co-wrote everything here), not escaping
the notice of the likes of Phil Lesh. First-side highlights include
the stunningly beautiful "Bird In a House" and the nearly
16-minute "Head." On side two, "Mighty River" makes
you wonder if musicianship can be too good. Also listen out for the
mind-blowing fiddle on the 15-minute "Warhead Boogie," and
look for Railroad Earth at a hippie stronghold near you. David Thornton
Otto Von Schirach Maxipad Detention (Ipecac). 4
ribs - serve warm with swollen whale abdomen.
There’s no way to even begin trying to categorize Otto’s
latest machine-gun peppering electronic explosion. This Gabber Bass
Drums/Breakcore Gabber Jungle/Gore Grind creepy mix is an 18-song journey
into the distorted mind of the half Cuban/ half German DJ. Each track
was handpicked and sequenced by Mike Patton, owner of Ipecac Records,
which is obvious if anyone’s familiar with Patton’s unique
taste on past endorsements. Will Jordan
Matchbox Romance: Voices (Epitaph). More Damon's
than Famous Dave's: 3 ribs.
Cleverly concealed in a matchbox cover, this follow-up from the Poughkeepsie
four-piece is much more akin to My Chemical Romance than Matchbox 20.
That the record starts with a bang on the two opening tracks and doesn't
really revive until six numbers later illustrates the problem with CDs,
whereas on LPs you usually got at least one or two good songs on the
first of the flip sides and didn't have to bother with the rest. Though
more literate and accomplished than most of their West Coast counterparts,
this is pretty standard issue - albeit mopey - punk-pop. The fact that
they're Epitaph's biggest rock act is probably due to accommodating
fans with low ticket prices on tours like Take Action! and Warp. David
Thornton
Virgin Passages Mandalay (Fire). 3 ½ ribs
- dark meat.
Drifting listlessly through unchartered territories, Virgin passages
make rainy day music with dark, lurking clouds looming over each track.
This Staffordshire trio creates hypnotic folk music that never lightens
after appropriately titled, opening track, “Hate Hate Hate.”
Album highlights or low lights in this case include: title track, “Mandalay”
as well as “Part Weatherman” and “Like Dogs.”
Save this for the darkest of days. Will Jordan
Hot Karl: The Great Escape (Headless Heroes). Jump
these bones: 4-1/2 ribs.
On the heels of the success of Orthodox Jewish rapper Matisyahu comes
this highly impressive debut of "suburban dork rap" from Calabasas,
Calif.'s Jensen-Gerard Karp, aka Hot Karl. Virtually every song here
registers, from the opening "duet" with MC Serch, "Let's
Talk," to the closing funky dis on club culture, "The Afterparty."
In between are such gems as the fabulous female backing vocals on "Suburban
Superstar," '80s/early '90s pop culture cross references in "Kerk
Gybson" and "Back/Forth," the hilarious "Butterface"
about girls with great bodies but less-than-optimum looks, and the good
grooves on "I've Heard" - all interspersed with some pretty
silly "skits." The only drawback is that Karl raps in an (inevitable?)
Eminem voice, but nonetheless it's obvious he spent a lot of time on
these mad rhymes. A bonus is the funny stories and "fun facts"
about each song in the liner notes. David Thornton
Omni Batterie(Natural High). 4 ½ ribs-fresh
meat.
Omni takes a fresh new approach with his boundless flows on Batterie.
Conceived and recorded in Australia, Batterie reflects the many places
the emcee has passed through on his exploits to spread his west coast
flava. With help from Australian crew Hilltop Hoods and West coast vet
Aceyalone, Omni gets the push he needs to kick out a fresh new jam.
From opening Batterie to coda Boost, this album smacks of flava. Will
Jordan
The Sounds: Dying to Say This to You (New Line). Getcha
some: 4 ribs.
Tragically hip Swedish fivesome - it's amazing their moniker hasn't
been used before - records 10 primitively cool post-punk numbers (not
counting the rocking reprise of "Night After Night") at Oakland's
Studio 880 (Green Day's "American Idiot") with a little help
from their well-heeled, like-minded friends: Jeff Saltzman (The Killers)
producing and Adam Schlesinger (Fountains of Wayne) and James Iha (Smashing
Pumpkins, Perfect Circle) adding extra production work. Fans of ultra-'80s
keyboards ("Queen of Apology," Tony the Beat"), even
down-and-dirty dance grooves (the half male-sung "Don't Want to
Hurt You"), will find endless delight spinning this disc. David
Thornton
The Disco Biscuits Rocket 3 (Diamond Riggs). 4
ribs-takes like chicken.
Taken from a live recording of the band’s 2004 New Years Eve show
in NYC, Rocket 3 is a must-have for Bisco fans. The three original tracks
on this release were originally considered for release on the April
2006 Live album The Wind at Four to Fly, but never made the cut, due
to the length of the songs. Despite the lack of radio-friendly tracks,
diehards will salivate over these live versions of “Magellan,”
“Frog Legs,” “Crickets,” and bonus track “Hope.”
Will Jordan
The Vestals: Songs About Girls ... and other mysteries (Warming House).
Patience with these coals: 3-1/2 ribs.
Brothers Ben and Jeremy Gordon - no, not ice cream (well, Ben was once
fired from Dairy Queen - whip up a maelstrom of sweet melodies on their
sophomore effort. Sharing seven songs apiece, the head-to-head sibling
"rivalry" rears its head most beautifully on back-to-back
tracks 3/4, 7/8 and 12/11 (Jeremy listed first), with the aforementioned
coming out on top on the first two and Ben on the latter. Contrary to
comparisons with other brother combos, as well as Ben Folds, these Minnestoans
recall Red Kross' Jeffrey and Steven McDonald ("Third Eye"
era) more than anyone else. David Thornton
Micha P. Hinson: Micha P. Hinson and the Opera Circuit (Jade Tree).
It would behoove you to buy this: 5 ribs.
This Abilenian alto by way of Memphis and now, of all things, a Manchurian
(due to his association with Earlies member John-Mark Lapham, whose
father once played with Buddy Holly, whom Hinson bears a slight resemblance
to) feeds a sordid past of drug addiction, prison and fundamentalist
upbringing into his brand of music called everything from Southern gothic
and cosmic country noir to Leonard Cohen-style troubadourism. Highlights
from this second effort range from the Polyphonic Spree-minus-the-chorus
sounds of "Jackeyed" to the absolutely gorgeous "She
Don't Own Me" (most likely about his infamous Vogue model turned
stripper ex-girlfriend) and the amazingly touching closing trilogy -
if these epics don't well up some emotion within you, there must be
something wrong, and the sense is that Hinson, like Elliott Smith, wants
to leave a glorious impression before it's too late. David Thornton
Ween Shinola Vol. 1 (MVD Audio). 5 ribs-tastes
good on the bun.
It’s no secret that we at Rib are the enormous fans of Ween and
we know we’re biased, but this album just freakin’ rocks.
We’ve had this one for a while, but it’s now available for
US distribution. Originally released by Ween's own Chocodog label, Shinola
Vol. 1 is the first in a series of rarities collections by the Pennsylvania
duo. From the opening distorted, lo-fi creepy exclamation, “Tastes
Good on th' Bun” to the melodically upbeat “Boys Club,”
the wonderfully dreamy “Did You See Me?” and the ever-funky
“Monique the Freak,” this compilation is a must-have for
any avid Weener. Dean Ween says it best: “Shinola is a collection
of odds, ends, and leftovers from around our studio and contains killer
new mixes of a lot of songs that have been floating around the web in
really crappy fidelity for a long time. I don't mind telling you that
it’s a really great record. Also, this is the first installment
in a series. There will be more of these to come in the future. The
record was produced and mixed by Andrew Weiss and Ween and it’s
an ugly one. You really wanna pick this up, I’m not shitting you.
This record has been a long time in coming.” Dare we elaborate?
Will Jordan
Ladyfinger (NE): Heavy Hands (Saddle Creek). All
ears ... of corn, that is: 3-1/2 ribs.
This Omaha quartet, thus the NE over legal wrangling (i.e., Dinosaur
Jr./Charlatans U.K.; nothing to do with Luscious Jackson song), rocks
in that uniquely passionate Midwestern way on their debut, rattling
off like Jesus Lizard but without punk, metal or emo inflections - just
heavy-handed drumming with low and loosely tuned guitar licks. Nothing
too distinguishing here, but Ladyfinger really shines on the shorter
numbers - everything under three minutes really registers, not to mention
a knack for clever song titles ("Diet Smoke"). David Thornton
Various Artists: U.S. vs. U.K. Punk (Sanctuary). Tastes
like old leather: 3 ribs.
In celebration of punk's 30th anniversary comes this "battle of
the anarchists." Boasting four live tracks - including the opener,
a demo of the Sex Pistols' "Anarchy in the U.K." without the
"get pissed, destroy" ending - this CD pits eight British
bands on the first side against eight American acts on the other. Perhaps
following one after another would have been a better measure, but what
does become evident is the Britons' penchant for pop (the Undertones'
"Teenage Kicks," Generation X's "One Hundred Punks"),
which perhaps is what made punk so much more of a sensation there after
America's Ramones (represented here with "Beat on the Brat"),
ironically, first unleashed the genre on the world. The U.S. side, by
contrast, is a decidedly rockier affair, as evidenced by the Stonesy
raunch of the New York Dolls' wretched but very fitting live version
of "Personality Crisis" as well as offerings by Iggy Pop (great
sample lyric: "I'm chairman of the bored"), Black Flag and
Suicidal Tendencies - the confusion of the latter two's inclusion all
the more puzzling being West Coast and from the '80s. David Thornton
Earmint Another Early Evening (EV). 4
½ ribs-fresh, minty fresh.
His production skills have garnered him underground praise in Chi-City,
and with the release of his debut, Another Early Evening, Earmint should
grab new listeners. His skills compare to RJD2 and his collabs are no
less impressive. Laboring over vintage synths, an $8 guitar and ancient
Studio Vision Pro software the DJ created undeniably funky beats that
drove folks to the sounds. Each track is representative of Earmint’s
diverse flavor as well as embodying each lyricist’s style from
Psalm One on “The Flashy Slang” to Diverse on “The
Bluesinger” and Longshot on “Watch Me Climb.” Step
into Earmint’s world and you may not want to leave. Will Jordan
Gerry Mitchell & Little Sparta: Scalpel Slice. Words
get in the way of some pretty good grub: 2-1/2 ribs.
As collaborations go, things either go swimmingly or sink like the Stone
Roses. In this case - a first between the Scottish poet and a multinational
ensemble with Scottish heritage (including the Mekons' Susie Honeyman
on violin) - Mitchell's often indecipherable Pogues brogue hinders the
lush Highlands accompaniment, made all the worse with the lack of a
lyric sheet. Case in point: Though a little long-winded, the instrumental
"Ruins" is by far the most beautiful track. As for the closer,
"Even the Saints": Come again. David Thornton
[Daryl]/Black Tie Dynasty: Bloody Basin EP (Idol). Hardly
hearty combo platter: 2-1/2 ribs.
Dallas label pairs a couple bands from its roster for the fifth in its
split-single/EP series. The opening collaborative title track is nothing
great, but BTD and [Daryl] do admirable jobs individually on the blissed-out
"Signs" and Ned's Atomic Dustbin cover "Happy,"
respectively, before vocalists Cory Watson and Dylan Silvers share duties
on the mondo bizarro "Gloria." Makes you wonder if this is
mutual admiration or record company motivation. David Thornton

Murder Was The Case, Snoop Dogg Tha Doggfather (Koch).
5 ribs-serve with gin ‘n’ juice.
Snopp Dogg was first sighted on Dr. Dre’s debut album Chronic,
puffin’ blunts and spittin’ his buzzed, sleepy-eyed-style
and rose to superganstardom over night. Murder Was The Case ranks alongside
classics The Chronic and Doggstyle as “one of Death Row’s
finest” and includes hits, “What Would You Do” and
“Natural Born Killas” as well as DVD footage. Tha Doggfather
is another classic with the hits, “Snoop Bounce,” “Vapors”
and “Snoop’s Upside Ya Head.” Both of these releases
are must-haves in any Death Row collection and if you missed ‘em
the first time, don’t make the same mistake twice. Will Jordan
Sponge: The Man (Idol). Slow-cook for best flavor:
3 ribs.
Detroit quintet kicks its fifth album off on a high note with the frantically
fuzzy title track before dropping the ball on subsequent hard rockers
that strive to emulate Alice in Chains (right down to the "angry
chair" lyric in "Fame & Glory") but come off more
like one of those faceless, testosterone-Fueled bands so prevalent at
the moment. Another case in point is "Higher (Part Two),"
co-written by Gun and Roses' Gilby Clarke and sounding like one of those
generic wannabes on his ridiculous reality show. Vocalist/songwriter
Vin Dombroski does show an impressive range with a good case of Mike
Ness and even Lou Reed on "Back Against the Wall" and "All
the Drugs in the World," respectively, and the fact that "Unlucky"
has yet to become a hit is a rock-radio crime. David Thornton

Big Bill Broonzy Amsterdam
Live Concerts 1953 (MRCD). 5 ribs-smothered
with hot sauce.
Taking the blues out of Mississippi was hard enough back in the day,
but to take ‘em overseas, was downright revolutionary. Big Bill
Broonzy was known for taking risks and telling stories. Amsterdam embraced
his southern charm and easy-going way and gave him a new podium to sing
his songs. Amsterdam Live Concerts is a two-disk collection that features
the long awaited recording s of two shows from February 1953. There
are 25 songs and in-between story-telling, plus photographs and extensive
liner notes about Broonzy’s legacy. Will Jordan
The Eames Era: Double Dutch (C Student). Too much
molasses in the marinade: 2-1/2 ribs.
Named after husband-and-wife design duo Charles and Ray Eames, these
Baton Rouge-based bubblegum popsters turn in a couple of good performances
(the coy and fun "Listen for the Sun" and "Year of the
Waitress") on their otherwise incessantly jumpy and underwhelming
first full-length effort. Better than - or maybe equal to - Ezra, but
that's not saying a whole helluva lot. David Thornton
Dan The Automator Presents 2K7 (Decon). 4 ribs-tastes
like chewy leather, yet strangely delicious.
The lineup for the new soudtrack for NBA’s 2K7 video game reads
like a roster of underground hip-hop allstars. From Lupe Fiasco &
Evidence (“Catch Me”) to Mos Def (“Here Comes The
Champ”) to Charlie 2na (“Anchor Man”) this compilation
represents a whole different breed of MCs that many times go overlooked
by such mainstream sponsors as the NBA. Kudos to The Automator for staying
true to his roots and holding it down for some of his favorite artists
by lifting them up on this one. Once again The Automator’s beats
go uncontested, making it much easier to ball along to each track. Will
Jordan
Black Wire (Giant Pecker). Grab a hold of this
big fatty: 4 ribs.
These three emaciated English boys, who also employ a drum machine in
favor of a degenerate drummer, come with a lot of questionable baggage
for a debut - from meeting while trying to lift a Suicide disc to the
Kaiser Chiefs writing "I Predict a Riot" after seeing a Black
Wire show. Sandwhiched between the cool dub and minimalism of the first
two tracks to the downright danceable last pair, Jesus and Mary Chain
meets the Clash on everything from ska to reverbed rockabilly. David
Thornton
Westbound Train Transitions (Hellcat). 4 ribs-“good
enough” to be downright tasty.
Boston septet Westbound Train have proven themselves many times over
in live settings, and with Transitions plan on convincing the world
of their abilities as a powerful ska oufit. They’ve shared the
stage with like-minded ska heavy hitters such as The Skatalites, The
Mighty Mighty Bosstones and The Toasters and follow in similar footprints.
From opening track “Transition 1” to coda “Travel
On,” Transitions echoes the true Westbound Sound—“a
bridge between ‘60s staples like reggae, soul and blues with modern
touches of jazz and country.” However described this band is discombobulatingly
talented. Will Jordan
Dirty on Purpose: Hallelujah Sirens (North Street). Just
as good as Dreamland: 5 ribs.
Some of the grandest things come in the dinkiest of packages. Within
a thin plastic cartridge with a sticker on it is mood music of the first
order, one ethereal gem after another of soft female vocals (mostly
by Brooklyn-based singer/songwriter Jaymay) overlying loud yet - despite
their name - clean washes of otherworldy soundscapes that reach a supersonic
shoegazing peak on the second half of "Always Looking," and
the emergence of a male voice marriages the Yo La Tengo-like twee-pop
to even better effect on most of the remaining cuts. David Thornton
Peeping Tom (Ipecac). Right off the rotisserie
with an apple in its mouth - 5 ribs
Peeping Tom is the latest brainchild of Mike Patton –
the mad musical genius notorious for his work in Faith No More
and Mr. Bungle. Patton’s love for musical freedom led
to the formation of Ipecac Records – an independent label featuring
an impressive roster of progressive artists. Pushing boundaries is Patton’s
forte, and Peeping Tom is no exception to the rule.
Unfortunately, Patton receives as much criticism as praise. A number
of die-hard “fans” are disappointed with this album. The
rumor mill, which has been spinning for years due to several delays
in the release of this recording, presented Peeping Tom as
pop. There are a number of elements that make Peeping Tom an
easier listen than Patton’s other projects; but the portrayal
of the album as popular music, in the current sense of the term, is
far from accurate. The underlying weirdness beneath the catchy hooks
and danceable (yes, danceable) beats manages to retain Patton’s
fingerprint while maintaining a perfect balance between great music
and experimentation.
Peeping Tom features a number of spectacular artists including
Norah Jones, Massive Attack, Dan the Automator, and Kool Keith. Each
artist lends a special signature to their respective tracks while miraculously
maintaining seamless transitions and a sense of cohesiveness. One track
flows into the next, and the album as a whole feels very solid. Your
Neighborhood Spaceman, featuring Jel and Odd Nosdam, is the album’s
strongest track and features spacey effects behind sublime drum loops
and cool jazzy melodies. The chorus hits hard with a pounding, fat bass
effect. The vibe continues with Kill the DJ, featuring Massive
Attack. Patton’s chums from across the ocean really contribute
to the track, and the groove is remarkable. Bottom feeder frequencies
continue on Doesone’s How You Feelin? It is hard to recall
the last time Patton made a danceable track, and the idea is even laughable
to many; however, if there was a track to make you shake, this would
be it.
Peeping Tom is listenable, danceable, and weird at the same
time. Patton has come close to nailing this formula before, most notably
with General Patton and the X-Ecutioners and Dan the Automator’s
Lovage, but this album represents the culmination of previous
experimentation and the ultimate fruition of Patton’s forays into
other forms of music. Peeping Tom receives Rib Magazine’s
highest possible recommendation. Shane Newsome
Raised Fist: Sound of the Republic (Burning Heart). Crunchy:
3 ribs.
The fourth release by Sweden's Raised Fist, and their first in four
years, opens full throttle with "You Ignore Them All" before
relief sets in on the next and best cut, "Perfectly Broken,"
that the rest of the record isn't as insanely intense. Other outings,
employing the skills of ex-Dark Funeral drummer Matte Modin, range from
a Tool/Helmet hybrid on 'Sunlight" to even 311 on the title track
and industrial on the last number, the four-minute "Time Will Let
You Go, All Alone, I Break" (which, naturally, being the longest
song, are the extent of its lyrics). The most striking thing about lyrical
content, though, is how the band injects itself into no less than five
songs with lines like "we will go out on tour and make all the
people go insane whether they like it or not" and "I have
to put all this in rhymes on a CD you're still going to buy." Other
hints of self-importance include turning down a slot at Ozzfest and
singer Alle Hagman's Thai boxing six days a week to maintain his "aggressive
energy." David Thornton
World Party Dumbing Up (Seaview). 5 ribs-aged
to perfection
When Karl Wallinger’s ship of fools came crashing down after riding
the high seas during the stormy mid-80s and tumultuous ‘90s, he
anchored his vessel and took some time out to charter a new course.
The UK singer returns to the helm of the familiar vessel with a partial
UK release of Dumbing Up. Now remastered and repackaged with two new
tracks, new graphics and a DVD of World party action Dumbing Up is getting
Wallinger a fresh start while holding on to his musical roots. Songs
like “What Does It Mean Now,” “See The Light”
and “Till I Got You” echo old World Party sounds with a
new world attitude. Will Jordan
Richard Butler (Koch). Extra juicy: 4
ribs.
Stating "an artist can say as much with a whisper as a scream,"
the Psychedelic Furs frontman strikes out on his own for the first time,
and there's something to be said for nearly three decades of experience.
The opening track, "Good Days, Bad Days," succinctly sets
the mature and meloncholy tone by reflecting on his recent divorce and
the loss of his father, followed by "California," which is
not about the state itself but more about acceptance of his current
state of being. Several other songs couple softly psychedelic atmospherics
with Butler's out-front and distinctly different vocals about his usual
theme of looking at the big picture - the sun and stars, tides and plate
tectonics, heaven and love (remember Love Spit Love?) - to great effect
on the grandly gorgeous "Nothing's Wrong" and "Maybe
Something." But perhaps Butler's greatest gift is his ability to
sum up life's shortcomings without the slightest hint of bitterness.
David Thornton
Toubab Krewe (Upstream). 5 ribs-worldly
flavor.
Fusing together West African rhythms and American rock and roll, Toubab
Krewe brings a new philosophy to modern day music making. The Ashville,
NC quintet traveled across the globe to research rhythm and sound and
it’s obvious by their self-titled CD they took the listen to heart.
The release has a natural vibration that reverberates through each track
from opening “Devil Woman” to coda “Bamana Niya.”
These boys deserve listeners. Once you hear them, it’s hard to
put down. Will Jordan
Burning in December. Cut rate: 2 ribs.
Two guys and a drum machine mix Ozzy-like vocals with turns of Genesis
("Wake Up"), Aldo Nova ("No Way Out") and Queensryche
("Next to You") on this horribly dated debut. Not to say it's
all bad - the longest and most cliched cuts actually turn out to be
their best: "Sweet Surprise, "Against the Grain" and
"Judgment Day," all of which stretch over six minutes. But
all this comes off like something "American Idol" rockers
Bo Bice or Chris Daughtry would put out. Best anthem attempt: "Can
You Feel It?" Most Yngwie Malsteen hair metal moment: "Midnight
Hunter," featuring the cheesiest keyboard opening ever (and the
ending is pretty comical, too). David Thornton
The Streets The Hardest Way To Make An Easy Living (Vice/Atlantic).
4 ribs-skin and bones.
It’s seems like just the other day when Mike Skinner first stumbled
onto the mainstream airwaves. Now he’s bitching about it with
his latest, The Hardest Way To Make An Easy Living. Out of the three,
this is Skinner’s most serious so far, though it seems a bit overboard.
Whining about “I don’t know how much money I have,”
Skinner is basically crying about “being so fucking bored,”
as if he has already forgotten the UK slum of Birmingham, he was desperately
intent on clawing his way out of. There is a sense of humor underneath
The Streets’ new release, and it’s filled with good production,
plenty of catchy beats and decent hooks, but it’s sometimes it’s
hard to get the joke. Will Jordan
From First to Last: Heroine (Epitaph). Cooks quickly
but chaos too controlled: 3-1/2 ribs.
Combining the networking savvy of Myspace.com with the vocal theatrics
of 18-year-old singer Sonny Moore and the talents of bassist-on-loan
Wes Borland and producer Ross Robinson (Slipknot, Korn, Deftones), these
former Floridians are currently playing the Warp Tour in support of
their sophomore release. Opening with the unrelenting "Mothersound"
and closing with the awesome title track, what lies between is a Mars
Volta-like maelstrom interspersed with the industrial
elements of "Aftermath" and "The Levy" (programmed
by Nine Inch Nails knob twiddler Atticus Ross), the staccato stratospherics
of "The Crows Are Coming For Us" and the click-track-collage
balladry of "Waves Goodbye." David Thornton
Oh No & Galt MacDermot Exodus Into Unheard Rhyming (Stones Throw).
4 1/2 ribs-smells like burning hair, but tastes
like Westside ribs.
Oh No was born into a life of music. His father Otis Jackson (70s’
soul singer) uncle Jon Faddis (jazz trumpeter) and brother Madlib (iconic
hip-hop maestro) all paved the way for Oh No’s break out. Besides
Madlib, Oh No has made more beats for Stones Throw Records than any
other DJ. Exclusively utilizing samples from the original R&B funk
master Galt MacDermot (composer of famed musical HAIR), Oh No reinvents
old school beats and rhythms with his own Cali-based twist. When looking
to unite a force to lyrically drive the rhythms into an amalgam of hip
hop greatness, he released his long-reaching tentacles and came back
with a formidable cast. The finished product is some smooth soul slayings,
reminiscent of early Native Tongue styling. Tracks like “Get Yours,”
featuring Blackmoon’s Buckshot, “Smile A Little Bit”
with De La Soul’s Posdnous, “Know Better” with Wordsworth
and “Keep It Lit,” featuring MED & Wildchild make Exodus
Into Unheard Rhyming an instant hip hop classic. Will Jordan
Cavalier King: The Sun Revolutions (Rubric). So
elegant it's almost inedible: 5 ribs.
Chris Taylor - who wrote, produced and performed everything except drums
and keyboards on this astonishing debut disc in his tiny Brooklyn apartment,
not to mention painting all its artwork - uses the alter ego Cavalier
King to flawlessly execute these comic-book-type tales ranging in influence
from The Smiths and The Strokes on opening and closing cuts "Renegade"
and "Victory," respectively, to Jeff Buckley on his namesake
number. It's hard to pick highlights from such an excellent album, but
"The Unprotected" (which recalls another one-man band, The
New Radicals) and "Champagne & Cocaine" are absolute standouts,
and the anthemic title track (and its reprise), "Angels of Mars"
and "The War Is On" ain't too bad either. Taylor's ability
to make even lesser songs like "The Finest Hour" engaging
speaks volumes of his talent. David Thornton
Shooter Jennings Electric Rodeo (Universal South). 4
½ ribs-best chased with Early Times.
Barrels loaded, whiskey poured and easy women ready, Shooter Jennings
brings the honky-tonk back to country with his latest, Electric Rodeo.
Carrying on his father’s tradition of outlaw living, the tattooed
heir croons with drunken authority and a deeply soaked southern blues.
The album open with the raucously rockin’ title track, “Electric
Rodeo,” then has ups and downs as manic as a bi-polar condition
until it ends with the mournful coda “It Ain’t Easy.”
Daddy Waylon would be proud. Will Jordan
The Robocop Kraus: They Think They Are ... (Epitaph). Aged
to almost perfection: 4-1/2 ribs.
This Nuremberg-based outfit rides the crest of new wave and post-punk's
best traits for its fourth effort - what has to be the absolute apex
of those genres' long-running resurgence. The first and last pairs of
tracks alone are worth the sticker price, but just about every other
song registers here as well. David Thornton
Tha Dogg Pound Cali Iz Active (Koch). 4 ribs-straight
gangstafried.
Ten years ago, when Tha Dogg Pound first crip-walked out of California
hoods with gangstafried lyrics and bangin’ beats they helped the
west coast conquer the globe with Snoop Dog behind the helm. Snoop,
Kurupt and Daz return with more fly, geographically loyal, gangsta grooves
with their latest, Cali Iz Active. The release features 16 thugged-out,
anthemic tracks and a slough of guest appearances from Ice Cube to Diddy,
David Banner and Paul Wall. Chuuch! Will Jordan
Spitfire: Self-Help (Goodfellow). One very course
meal: 3 ribs.
Virginia's Spitfire makes its return to the metalcore scene as a five-piece
unit after almost four years out of the fold. The band's fast-and-slow,
stop-and-go dynamics make for an interesting listen, but what really
would be impressive is some musical variety - which they do manage to
pull off on the Ministry-like "Dear John" and My Bloody Valentine-ish
wall of sound at the beginning of album closer "OHM Driver."
However, Jon Spencer's (no, not that one) constant throat shredding
tends to wear thin as fast as the guitars. David Thornton
.
Panoramic Rhythm Through The Unobstructed View (Rhythmic Union). 3
½ ribs-Caribbean–style.
Panoramic is a palette of cultural colors. Rich in calypso, Afro-Cuban,
Brazilian and East Indian rhythms, the Caribbean group creates laid
back island sounds that help drift the day away. Trinidadian Liam Teague
is thought of one of the best pannists of his day. Mix together the
talents of Robert Chappell (piano, marimba, vibes, tabla), Orlando Cotto
(congas), Doug Stone (saxophones), Phil Beale (drum kit) and Joshua
Ramos (bass) and you’ve got the most talented island house band.
Will Jordan
Time Again: The Stories Are True (Hellcat). Rough
around the edges but still excellent: 4 ribs.
This no-frills SoCal punk rock quintet rips through 13 songs in a mere
27 minutes on their full-length debut. Mostly mohawked and tatted like
their biggest supporter, Rancid's Tim Armstrong (kudos are also given
to The Offsping's Dexter Holland), songs range from the refreshing regretlessness
of "Say Again" to the ska-inflected closing cut, "Streetwalker."
Other highlights include 'Life on the Run" and "Deadly Nights,"
all resulting in a good dose of derivative yet fun debauchery - minus
"Criminals," but it's less than a minute long anyway. David
Thornton
Bettye LaVette I’ve Got My Own Hell To Raise (Anti-).
4 ribs-dripping with flavor.
Bettye LaVette’s heart is in her hands on I’ve Got My
Own Hell To Raise. Her vocals ooze with emotion and the sound has
no barriers. It sinks and swells with a gasping breath, stepping in
and out of soul, country, jazz, blues, gospel and R&B. The release
has a timeless appeal, though an obvious early 60s’ roots. Sit
back and listen to LaVette croon in this 2005 recording session as she
first did in 1962 Detroit. Will Jordan
Sworn Enemy: The Beginning of the End. (Abacus). Tough
but tasty nonetheless: 3-1/2 ribs.
Straight-up romping, stomping chew-you-up-and-spit-you-out, kick-ass
old-school Metallica/Pantera speed metal of chugging precision, but
things never get too complicated for some serious headbanging. David
Thornton
Flair (Storage B. Records)
"Yes, we're from Nashville! No, we're not
country!" Flair states on their Myspace Web page. This becomes
immediately evident on the tough Benatar shards of "Hurting Me"
that open Flair's half-hour debut CD. Sandwiched between the first side's
hard-rocking bookends are a couple of jangle-pop gems, beginning with
the scrumptious Sundays-isms of the album's "Stand"-out track,
before becoming a mostly acoustic affair on the flip side. Vocalist
Andrea Davis' Delta blues-soaked roots first become evident on the record's
only live cut, "Heaven Sent," before her pristine pipes really
come to the fore and get to soar on the last two numbers. Like their
name implies, this band has the talent to carry them forward. Catch
them now at a bar, ballpark, fraternity party or summer festival before
they hit the big time. David Thornton
Cast King of Old Sand Mountain, Alabama Saw Mill Man (Locust
Music). 4 1/2 ribs-best served with a cheap bottle
of red wine.
When Matt Downer climbed the Sand Mountains in 1998 in search of stripped
down, traditional country saw mill music, he discovered a handful of
fellas who were still picking the old school way. The one name that
kept coming up throughout was Cast King, a 93-year-old fiddler whose
voice resonates with bone-jarring saw mill work, cheap wine, outlaw
ways and hard times. Downer not only recorded the weathered, hard-lived
singer, but also sat down with King on the guitar. The result is some
of the most honest, refreshingly under-produced country music released.
Will Jordan
Tre Hardson SlimKid Tre’s Café (Flying Baboon).
4 ½ ribs-tastes great, less filling.
Tre Hardson aka Slimkid was first introduced to the music scene in the
late ‘80s with the jazz-nasty, comedy quartet, The Pharcyde. He
took his solo efforts on the road in 2000 and has been behind the mic
since. His latest release, SlimKid Tre’s Café
is more of the same from Slim, illustrating his important contribution
to Pharcyde’s unique sound. Funny-ass songs like “Knockin’,”
the catchy, smoothness on “When You Love Someone,” the conscious-inspiring
“Stepping Stones,” and the slowed down, “You’re
Mine” all remind of the old days when Slim was at the helm of
the Bizarre Ride brothas. With the new release, Slim should be able
to rise above his old definition and reinforce his own identity as a
true lyricist. Will Jordan
Madlib Beat Conducta Vol 1-2 Movie Scenes (Stones Throw). 3
½ ribs-Mad flava.
Madlib returns with another onslaught of hip hop instrumentals on his
latest release Beat Conducta. Mining “library records”
made for TV and film in the funky 1960’s and 1970’s, Madlib
has created 35 tracks of nostalgia. The album can be stripped down to
individual tracks or played in its entirety as a complete sonic landscape
of an era that’s encapsulated in the music. Will Jordan
Gnarls Barkley St. Elsewhere (Downtown). 5 ribs
– ummm ummm good!
Cee-Lo and Dangermouse join together like the Wonder Twins to create
Gnarls Barkley, an amalgamation of 70s’ and 80s’ sounding
riffs with soulful crooning and futuristic bombs dropping throughout.
On St. Elsewhere, Cee-Lo, takes on a new but familiar form, as a cool
drink of Courvoisier poured into a gaudy, platinum-encrusted chalice.
The buzz that emanates from his emotional high-pitched singing mesmerizes
and ensnares each listener with a wave of smooth yet deadly grooves
rippling through each track. Dangermouse takes the form of an enormous
rat with lightning reflexes he uses to create discombobulating beats
and rhythms that confuse. The result is dynamic as the duo kicks out
uncontrollably danceable tracks such as “Crazy, “Smiley
Faces,” “Feng Shui” and a much-overdue remix of Violent
Femmes’ “Gone Daddy Gone.” Will Jordan
Thievery Corporation Versions (ESL). 5 ribs- old
taste-new flavor
Recreating familiar sounds with their own undeniably unique twist of
urbane vibrations, Thievery Corporation’s latest release, Versions,
epitomizes the duo’s capabilities as booty-shake-making machinists.
From an ill interpretation of Herb Albert’s “Lemon Tree”
to a haunting version of The Doors’ “Strange Days”
to the dizzying mid-eastern sounds emitted in Transglobal Underground’s
“Khalghi Stomp” Versions doesn’t let up until the
record stops spinning. Rising above the smog-filled clouds that hover
over their hometown of Washington D.C., Thievery Corporation aka Garza
and Hilton are redefining old sounds while somehow holding tight to
the song’s original charm. Will Jordan
Marley's Ghost: Spooked (Sage Arts). Rolls
off the tongue: 3-1/2 ribs.
"O Brother," here we go again. Riding the resurgence of Americana
that has yet to smooth out since that movie's 2000 release, this eclectic
quartet - named after "A Christmas Carol" character Jacob,
not reggae's Bob - celebrates its 20th year with this 13-song collection
recorded on a farm in Washington state and produced by Van Dyke Parks
of Beach Boys fame. After a cover of Dylan's "The Wicked Messenger,"
the record really hits its mark on the straight-up country "High
Walls" and Junior Brown soundalike "Last Words," minus
the guit-steel of course. The next number, "Palms of Victory,"
features the group's renowned four-part gospel harmonies interlaced
with organ provided by Parks. Track 8 is an instrumental that sounds
like it rolled down from the hills of Eire, followed by the yodeling
of "Cowboy Lullaby," where the only hint of the album's title
comes into play, and the closing a cappella sea chanty is preceded
by the jazzy swing of "There's Religion in Rhythm." David
Thornton
Jessi Colter: Out of the Ashes (Shout! Factory).
Succulent: 4-1/2 ribs.
Undoubtedly spurred by the emergence of son Shooter Jennings, with whom
Colter collaborates on "The Passion of the Christ"-inspired
closer (and even giving a shout-out to Ben Harper in the liner notes),
the 59-year-old original "lady outlaw" breaks a 20-year silence
with this Don Was-produced outing. The opening hymn introduces the recurrent
theme of Colter as the "sparrow" before Was' influence comes
to the fore on the hard-driving blues of "You Can Pick 'Em"
and "Velvet and Steel," which are reminiscent of his earlier
work with Bonnie Raitt. Other echoes of stellar female stylists include
fellow Arizonan Stevie Nicks ("The Phoenix Rises" and "The
Canyon," not necessarily in voice but scope), Patsy Cline ("You
Took Me By Surprise") and even Lucinda Williams on the unbelievably
uplifting but all too short "Out of the Rain," where Colter
shares vocals with Tony Joe White and, thanks to studio trickery, late
husband Waylon Jennings. Though the album slows considerably - albeit
gorgeously - after a serviceable redux of Dylan's "Rainy Day Women
#12 and 35," this gallant comeback represents everything that can
be right about country music. David Thornton
Thunderbirds Are Now!: Justamustache (Frenchkiss). Avant
grilled: 3-1/2 ribs.
Firing off with the uncategorizable "Better Safe Than Safari"
and "Eat This City," this Detroit quintet - led by brothers
Ryan and Scott Allen, who often sound like girls whereas Red Kross'
McDonalds just look like it - rattles off eight more keyboard-driven
gems that contain elements ranging from the Chemical Brothers ("198090")
to "Kiss Me, Kiss Me, Kiss Me"-era Cure on the awesome "Enough
About Me, Let's Talk About Me." Other highlights include the catchy
but lyrically odd
"From: Skulls" and the final cut, "Cobra Feet,"
where guitars finally get top billing (but it's still hard to believe
they were Tool wannabes four short years ago). A disposable, sometimes
tinny-sounding minor record but often a hella lotta fun to boot. David
Thornton
The Gris Gris: For the Season (Birdman). Extra
tangy: 4 ribs.
Taking its name from voodoo talismans, this super-psychedelic Oakland
outfit (pronounced gree-gree) begins its second release with a flawless
first half - a six-song suite that starts off with a seeming homage
to Iron Butterfly's "In-A-Gadda-Da-Vida" ("Ecks Em Eye")
and delves into some Radiohead/Cramps riffs by track 3 before the Airplane
takes off and briefly orbits on tracks 4 and 5 then glides to a crash
landing on live favorite "Year Zero." The next number, "The
Non-Stop Tape," fittingly sounding like something out of "Texas
Chainsaw Massacre" given the record was recorded in the middle
of nowhere there, is followed by acid guitar and melacholy on "Medication
#4" and "Skin Mass Cat," respectively, before single
"Pick Up Your Raygun" gives a 21st century coating to "Paint
It Black" and the title track winds things down for seven
and a half minutes. Sounding as if it were recorded in a far-off room
throughout makes "For the Season" a great (very) late-night
listen. David Thornton
Everchanging Nomad: Hero Today, Gone Tomorrow (Turner). Very
well done: 5 ribs.
When launching a whole new genre of music ("future pop"),
it doesn't hurt to have the master of three of the five songs nominated
for Oscars in 2004, Gavin Lurssen, behind the boards. Portland, Ore.,
natives Damon Lynn and Vance Crofoot wisely eschew grunge for their
stunning debut, favoring instead a clean wash of guitars and keyboards
with highly resonant vocals. Following the opener, described as "sort
of like a Sunday school lesson for atheists," is first single "You
Know," which, like tracks 4 and 7, incorporates a sound akin to
The Smiths/Morrisey's best material. Other beautiful cuts include "Antilove,"
"Just Friends," the remarkably lush "Atmosphere"
and lyrically brilliant "Handmedowns." The anti-religious
rhetoric here could be a turnoff for many, but the music is great -
and so are the meanings behind the message if you're willing to listen.
David Thornton
Wilson Gil & The Willful Sinners: American Banned (Tinnitus). Tastes
like propane: 3 ribs.
Ripping off the Ramones right from the start on first single "My
Town" and Neil Young later on "Most Loved," these San
Francisco rebel rockers combine their influences to offer up a healthy
dose of punk, grunge and country for their second album. Gil, whose
day job involves caddying corpses for his mortuary service, isn't much
of a singer but some of the song titles here attest to his talent for
telling a good story ("Six Before Seven," "Bitches and
Stitches," "Can't We All Just Get a Song" and "Twinkies
and Speed") about drinkin', druggin', fightin' and fuckin', as
well as a wicked pen ("California bad vibrations" on "Bad
Reputation"; a tale of addiction and male prostitution on "Stripped";
and double suicide on the seven-minute-plus swan song, "Top Story").
The problem lies in that there just isn't enough background raunch befitting
a band like this. For that, Horton Heat revs much harder. David
Thornton
Jo Potter: 8 Circles (ROAR). Please pass the trans
fat: 2-1/2 ribs.
Seeing "indie singer/songwriter" came with a lot of trepidation,
which was immediately vanquished upon hearing the rocking opening number,
"Walk Away" ... but that was short-lived. Of the following
15 songs, 14 are basically about the same thing - Potter's personal
relationships. The lone exception, "Together," however, is
embarrassingly cliched (sample lyric: "We all may look different
but inside we're the same"). Not to say that the record is completely
uninteresting: "I Am Missing You" is a nice touch, "Burn"
is as convincingly horny as anything Melissa Etheridge has ever put
out and track 15 is "More" of a good thing, but the South
Floridian's inflection often wanders into Brooke Hogan kind of unoriginality.
Other common pratfalls are repetition - tracks 12 and 13, "Stay"
(who'd thought Lisa Loeb would be better at anything!) and "I Hate
When You Go" are obviously an extension of the same theme - and
contradiction (bonus track "You Won't See Me Cry" is a kiss-off
to ex-boyfriend CD is named after). Potter's voice
is marginally good and the writing is pretty up to par, it's just that
the "confessional" tag results in some pretty faceless pop
music (worst offender: "Round and Round"). David Thornton
And 1 Streetball Mixtape (Ubisoft). 3 ½
ribs - virtual taste.
What would streetball be without the hip hop? Recognizing its importance
in the sport, videogame maker Ubisoft has released the And 1 Streetball
Mixtape. The compilation, mixed by oldschool DJ Green Lantern, features
tracks by Kool G. Rap, Clipse, Bun B and Smitty. Each track, like the
court has its own flava, from east coast to west, north to south. Every
summer And 1 hosts the And 1 MixTape Tour, pitting players from each
city against each other and raising the bar for the most innovative
streetball moves invented. Will Jordan
Public Enemy featuring Paris Rebirth Of A Nation (Guerilla Funk) 4
ribs.
Public Enemy is undoubtedly one of the most influencial groups in hip-hop.
Minus Flava’s sellout appearances on VH1(at least he’s always
been consistently bizarre), PE members have always stayed true to their
original sound and stuck to their guns musically and philosophically.
Chuck D remains one of the most profoundly outspoken MCs. His partnership
with Paris, takes the music to the next level. After a lengthy hiatus
for all included, it’s nice to hear some new tunes from the bunch.
Every song is like a trip back in time with a new spin. Will Jordan
Dean Martin Cha Cha De Amor, Happy In Love, Dino-Like Never Before
(EMI) 4 ½ ribs-vintage flava-best
served with a stiff drink.
For diehard Rat Pack fans the wait is over—reissue label Collectors
Choice Music will release the nine albums Dean Martin recorded for Capitol
Records between 1953 and 1962. In addition, the label will also release
compilations of various non-LP singles that Capitol released in the
mid-‘60s. Cha Cha De Amor (1962) is an Afro-Cuban-Latin collection
produced by Nelson Riddle filled with swooning south-of-the-border swing.
Happy in Love (1966) and Dino—Like Never Before (1967) are released
together and are a collection of Martin’s singles. The beloved
boozing crooner had an extensive relationship with Capitol, but for
fans, those songs have never sounded clearer. Will Jordan
The Love Drunks (Alive) 4 ½ ribs-still
buzzing from this one.
If you cross-bred John Spencer Blues Explosion with the Stooges and
tossed in Jerry Lee Lewis, you’d have The Love Drunks. Belching
out of the Atlanta underground rock scene, The Love Drunks hammer out
a sound that has waves of rockabilly, blues and garage-punk played the
old-school way with Rickenbacker guitar riffs, upright bass thumps,
swing-worthy drums and the moans and screams of an equally talented
lyricist. Combined the group has an old time sound with a new school
approach. Play this one loud. Will Jordan
Substance Abuse Overproof (Threshold) 4 ribs-finger
lickin’ good.
After collaborations with MF Doom, Souls of Mischief, Aceyalone and
the like, Substance Abuse is finally dropping their own full-length
debut. Filled with old-school samples, new-school beats and fluid lyricising,
Overproof showcases the perfect collaboration of the group’s members
(Eso, Tre and Subz) as they echo an underground LA sentiment that was
birthed by like-minded Alkaholiks, Del and Souls of Mischief. Highlights
include: “Night On The Town” with Kool Keith, “No
Guarantees” and “Profitless Thoughts” with MF Doom.
Other guests on the album are: Rasco, Motion Man and Saafir. Will
Jordan
Project Polaroid (Threshold) 4 ½ ribs-mystery
meat-tastes like people.
For those who don’t know, Project Polaroid is basically the new
Kool Keith album. However, don’t discount his partner-in-crime
TomC3, the genius behind the beats. When the two come together, they
form something of a maniacal pair—Kool Keith’s out-there
lyrics spoken emphatically over TomC3’s futuristic soundscapes.
Each track on Project Polaroid comes together to form a complete Lo-fi
classic with elusions to a sci-fi soundtrack from the opening intro
to coda “Photo Shop.” Will Jordan
Sleater-Kinney The Woods (Sub Pop). Raw like sushi:
4-1/2 ribs.
This being their seventh album, and first for seminal Seattle label
Sub Pop, you just knew these three grrrls named after an interstate
exit were just itching to try something new. Judging from the press
photo, the fear was they'd left Kill Rock Stars behind to literally
clean up their act - but what an un-Phair assessment! As the album title
suggests, this is a decidedly dark and cathartic yet very alive affair,
mostly ditching the vocal interplay between Corin Tucker and Carrie
Brownstein in favor of "guitarmonies." After powerful opening
number "The Fox," featuring Tucker's distinctive wail –
quite simply one of rock music's most powerful instruments - things
get right to the point on "Wilderness" before soaring on the
oh-so un-alternative Hendrix solo stylings of "What's Mine is Yours,"
which are also amazingly employed on the obvious concert-closer, the
11-minute "Let's Call it Love," which for not one moment gets
old and where drummer Janet Weiss really goes to town. Other highlights
include "Jumpers" (which would've been a stronger single than
the Elastica effectations of "Entertain") and the gorgeous
"Modern Girl." David Thornton
Steve Lehman Demian as Posthuman (PI Recordings)
Saxophonist and composer Steve Lehman expands and sometimes subverts
the traditional jazz vision on his latest release. He openly embraces
electronics in several pieces, even utilizing synthesized textures and
special effects on such numbers as “Damage Mobility,” “Cognition
– Drew Hill,” “Community” and “Cognition
– Ernest Jeffries.” Though most pieces are short (less than
five minutes average) Lehman manages to include ample room for piercing,
taut solos without neglecting either ensemble cohesion or rhythmic vitality.
Much of the bottom end fire comes from electric bassist Meshell Ndegeocello
and/or drummer Tyshawn Sorey, whose efforts both individually and collectively
keep the backgrounds and accompaniment challenging and fluid. Lehman’s
playing can be breezy, edgy or blues-based, and he also occasionally
provides additional lines on sopranino, but the star second soloist
is pianist Vijay Iyer. Though only featured on the opening and closing
songs, his thoughtful exchanges nicely augment the scratches, swoops
and other effects of Jahi Lake on turntable and through various devices.
This isn’t straight-ahead mainstream, not completely outside material,
but an expertly played combination of both styles, enhanced by a touch
of vintage jazz-rock sensibility. Ron Wynn
Deadboy & The Elephantmen We Are Night Sky (Fat Possum).
4 ½ ribs (rare meat)
For a band that claims to be “already dead,” Deadboy &
The Elephantmen’s sound is very much alive. Though primarily a
duo, Dax Riggs (guitar/vocals) and Tessie Brunet (drums/vocals) call
on others when needed. The songs featured on We Are Night Sky
are a personal outpouring of emotional ramblings, written and recorded
by Dax in his current headquarters in Houma, Louisiana, with the exception
of tracks 1, 4, 6, & 12, which were recorded at Fat Possum's studio
in Water Valley, Mississippi, and 3 & 7, recorded at two studios
in Houma. The songs vary from primitive rock to sparse acoustic but
Dax's powerful voice (think Lou Reed) and often dark/eerie themes backed
by Tessie's soft vocal harmonies allow a smooth consistency to We
Are Night Sky. Will Jordan
Numbers on Napkins Waiting for Tomorrow (Bad Stain). Utterly
tasteless: 1-1/2 ribs.
If this is any indication of the Phoenix punk scene, things definitely
aren't rising! Produced by the "legendary" Aaron Carey, whose
credits include the thoroughly un-punk Stevie Nicks and Sheryl Crow,
this is a horribly recorded, energy-drained concoction of mercifully
short Sum 41/Bad Charlotte shit with a lyric sheet - cumplete with typos
- that reads like 10 teen wet dreams ranging from funny ("You know
she never drags her teeth when she's suckin' on my meat") and kind
of amusing ("It's hard to get hard when you're starin' at the lard,"
sung in a hick accent) to downright ridiculous ("I watched my rummer
overdose on cocaine - he was detergent, now he's suds"). Though
this is a debut, these guys have been around awhile and should know
better and maybe should re-enroll in the School of Rock. David Thornton
Michael Attias Renku (Playscape)
Soprano, alto and baritone saxophonist Michael Attias heads a pianoless
trio that takes a drastically different stylistic turn than either the
combos of Sonny Rollins or Gerry Mulligan. While those groups each operated
without chording instruments, they let the other rhythm section members
fill in that space and also handle those duties. The Attias unit often
has all three players complimenting each other, but seldom features
the kind of unison melodic exposition or interplay that’s usually
heard in this setting. There are some pieces like “Ciao Monkey,”
where Attias’ baritone, alto or soprano are the musical focus,
with Attias’ demonstrating great facility in both upper and lower
registers, and also able to deliver crisp, striking lines and solos
on other cuts like “Work,” “Dark Net” or “The
Crunch.” On “Work,” bassist John Hebert and drummer
Satoshi Takeishi operate more like the prototype supporting tandem,
with Hebert dispensing fat, full and jutting lines and Takeishi overlaying
crackling drum and cymbal statements on top of the arrangements. However,
on other numbers like “Renku” or “Hotel new #1,”
Hebert may be moving one way and Takeishi heading the other, or they
may merge their efforts and let Attias establish a different direction.
Rank is never predictable or typical improvisational fare,
but it’s frequently inventive and consistently delightful. Ron
Wynn
Four Zone My Turn (Spytech). 3 ½
ribs - funktafried.
Four Zone has his own La-bred flava, though strays from the typically
familiar geographical stigmas. Bent more on head nodding hooks than
C-walkin’ beats, Four Zone’s debut, My Turn, is
a reflection of a rapper who grew up on the west coast “listening
to A-ha while reciting NWA lyrics in his head.” In addition to
being a lyricist, Four Zone is a hell of a beatboxer, whose skills have
taken him from a gig on Entertainment Tonight to alongside
the likes of Rahzel, Biz Markie and Doug E. Fresh in a hip hop documentary.
My Turn features club lovin’ tracks such as “Bounce”
and “Lap Dance” and offers production by DJ Cheapshot and
Vin Skully of Styles of Beyond fame. Will Jordan
Lamb of God Killadelphia (Epic). Cheaper by the
pound, pound, pound: 2-1/2 ribs.
This way-long live set, basically 75 minutes of the same thunderous
thing recorded over two sold-out shows at Philly's Trocadero and accompanied
by a gold-selling DVD, boasts 16 songs from the ferocious Richmond five-piece's
entire catalog. Though coming with a warning label, you can hardly decipher
a fucking word ... except that one, when singer RandyBlythe urges the
crowd to "make some noise" about a million times in his between-song
banter. Featuring Chris Adler's turn-on-a-dime, jaw-dropping drumming
and likened to Pantera and Slipknot, though not nearly as muscular or
inventive, respectively, these "current supreme rulers of American
heavy metal" rip out the hard riffage and surgical precision in
"Terror & Hubris in the House of Frank Pollard," "Omerta"
and the vitriolic, venemous two minutes of standout cut "Bloodletting."
Other moments of note include the vocal shredding on "Pariah,"
a scary call to the mosh pit on the otherwise lame "Subtle Arts
of Murder & Persuasion" and the first 50 seconds of "Vigil"
which, besides the opening salvo, contains the only (relatively) mellow
moment here, but the band would have done better by leaving the last
four tracks off the disc. David Thornton
Cypress Hill Greatest Hits From The Bong (Columbia)
Cypress Hill has managed to retain sizable audience following and interest
over the last few years despite not being nearly as publicized or spotlighted
on radio as during the early ‘90s. Then their mix of defiance,
posturing, rebellion and paranoia proved inviting, fueled by the high-pitched
verbal style of B-Real and the deeper, more menacing answering rhymes,
taunts and comments of Sen Dog. This 12-cut disc does contains the most
important bits from the group’s lineup, among them “Insane
In The Brain” and “How I Could Just Kill A Man.” “Insane”
at least has some humor, while “How I Could Just Kill A Man”
in unrelenting in its message of homicidal fury and anger. Other numbers
such as “Throw Your Set In The Air,” “The Only Way”
and “Latin Thugs” spotlight the additional elements that
have made Cypress Hill successful, among them forays into metal, rock
and Latin pop, though never fully deserting the hardcore frame that
underlines their tunes. Still, it’s a bit surprising that the
disc doesn’t contain more material, with only the bonus reprise
of “Latin Thugs” done in faster, reggaeton mode, offering
fans any extras for their dollars. While it would be a stretch to view
them as groundbreakers or innovators, Cypress Hill did usher in a new,
intriguing sound during their heyday, and this set offers most of their
best singles. Ron Wynn
The Sha-Pels Night of Malta (Shed Records). 4
ribs - good ole Tennessee cookin’.
The jazz nastiness of the Chattanooga, Tenn. based Sha-pels is best
described by the dizzying fortitude of each band member’s instrumentation.
Whether it be told by Russ Cannon’s complex guitar strumming,
Arettie Ford’s thundering bass thumping, Rich Howell’s ever-present
saxophone blowing or the crashing and all encompassing drumming of Matt
Chappell, each has a very distinct voice. Forget about trying to lump
these guys into any one genre. The Sha-Pels sound is a blur of all things
good, though sometimes can be disorienting and has doses of jazz, ska,
surf, psychedelic rock and metal skattered throughout. From opening
“Bizarre Sorceress” to coda “The Four Thursdays,”
Night of Malta is a journey into the minds of each of these
disturbingly honed musicians, but pack light, because you may just get
lost along the way. Will Jordan
MxPx Panic (SideOneDummy). Thick and thin: 3 ribs.
"We were either going to slowly die or do something extraordinary,
dig deeper than we ever have before," says Mike Herrera, vocalist/bassist
and chief songwriter of this veteran skate-punk trio. And thus the title
of the album, recorded in a mere 22 days in the group's own Bremerton,
Wash., home studio. Following the short shots of "The Darkest Places"
and "Young and Depressed," which are pure power popdespite
their gloomy names, is the first single, "Heard That Song,"
with Socially Distorted vocals that probably play well on satellite
radio. Tracks four through seven are good adolescent angst anthems,
starting with the Offspring-ish "Cold Streets" and ending
with the cutesy cowpunk of "Late Again," but the second half
of the record is a mostly empty bag of tricks. David Thornton
Ludacris Ludacris Presents..Disturbing Tha Peace (Disturbing
Tha Peace)
Although his cinematic profile has greatly increased over the past year
thanks to acclaimed appearances in Crash and Hustle and
Flow, Ludacris is not yet ready to follow the likes of Ice Cube,
L.L. Cool J., Will Smith or Ice-T into rapping semi-retirement or hip-hop
irrelevance. He’s sometime participant, other times assembler,
mentor and inspirational figure on Disturbing The Peace, a
collection of rap skits, rhyme collaborations and confrontations, plus
some remixes and even a bit of vocal/romantic fervor from frequent Peace
member Bobby Valentino, who teams with Smoke from the Field Mob and
Lil’ Fate on “Table Dance.” Ludacris reigns on “Family
Affair,” “That’s My SH*t” and “Georgia,”
which has vocal hook/lick from Jamie Foxx filtering through the discourse
between Ludacris and Field Mob. The loping, alternately comical, profane
and prophetic commentaries from other contributors like Norfclk on “Put
Ya Hands Up,” Playaz Circle on “You Ain’t Got Enough”
and the tandem of Rich Boy and Gangsta Boo on the lyrically questionable
“Break A NI**A Off,” are other noteworthy (or at least notable)
entries. Ludacris and his cronies can be combative, charming, annoying,
sometimes obnoxious or threatening, but eventually this CD offers a
full picture of what’s happening both good and bad currently in
Southern rap, Atlanta division. Ron Wynn
The Strokes First Impressions Of Earth (RCA). 4
ribs - ummm-comes with a juicebox.
More angst infused sweat and tear drippings from The Strokes with their
latest, First Impressions Of Earth. It completely lives up
to the anticipation. Since their inception, The Strokes have seemed
bred for badass rock music making, creating enormous, emotive pop sounds,
all the while holding firm to their roots. First Impressions Of
Earth transcends the first two with an even heavier sound and more
emotion than might should be revealed. Will Jordan
Steve Porter Porterhouse (Fade). The other white
meat: 3 ribs.
Porter is a DJ who defies genre description, which should be more of
a success with dance music – matter over mind - but is a real
bitch for record reviewers. Porter, who hails from western Massachusetts
and now calls New York home, drew upon a close network of talent from
the Boston area for his first-ever mix compilation - an almost 75-minute,
26-song set culled from more than 300 he considered. Included in the
mix are nine original tracks, four of which appear in extended versions
on an EP of the same name: "Hulkinator," "Funk Theory"
and "Fountainia," which all offer up nice splices of '80s
keyboards and percussion, as well as the very housey "Junk in the
Trunk." Regression may not always be a good thing, but this is
actually a progression over last year's "Homegrown" debut.
David Thornton
Wendy Williams Brings The Heat, Vol. 1 (EMI)
Some fans enjoy the gossip “scoops” and frequently feisty
interviews that are the calling card of broadcaster Wendy Williams.
But Brings The Heat Vol. 1 thankfully doesn’t venture
into that arena. Instead, this is a collection of recent rap, R&B
and even pop reggae pieces spotlighting such current and/or rises stars
as Amerie, Guerilla Black, N2U and M.O.P. Besides supplying a spicy
introduction and closing work, Williams joins with Mario Winans on “Stand
Up.” Still, the real musical fire comes from Amerie, whose sultry
vocal is crisply contrasted by Nas on “Man Up!” Jaheim teams
with Jadakiss on “Everything,” and Beenie Man displays the
energy and slashing verbal facility of dancehall victors on “Good
Woe.” Most these cuts are good, a few excellent, though neither
Julez Santana or Marques Houston deliver particularly memorable performances.
But the single most dominant number comes from Dwele on “Money
Don’t Mean A Thing.” Tearing through the narrative with
unexpected ferocity, he makes it seem he really believes the theme that
finances should take a backseat to emotional fulfillment and inner peace.
Whether he really buys the message or not, Dwele soars above
the crowd and emerges as most arresting artist featured on this otherwise
solid anthology. Ron Wynn
The Mars Volta Scabdates (GSL/Universal). 5 ribs
- ya need a bunch of napkins with this one.
Someone beam me back to earth. My brain is still buzzing after listening
to Mars Volta’s live album, Scabdates. Scabdates features
music recorded between May 2004 and May 2005 during the 2003-2005 tour
in support of Frances the Mute and De-Loused in the Comatorium. Anyone
who’s witnessed a Mars Volta gig can attest to the insanely operatic
tendencies the band dispels on stage and thanks to the slick production
and mixing of Omar A. Rodriguez-Lopez, the true madman behind the music,
now the unprivileged others will get the idea of what they’ve
missed. Will Jordan
Tarantula A.D. Atlantic EP (Kemado). Slightly
skewered delight: 3-1/2 ribs.
The opening track - a cello piece reminiscent of "Pod"-era
Breeders - really sets a mood, its obscure film score ambience overwhelming
the occasional metal rave-up. The pianos of the following title track
then eerily meld into the ghostly background vocals of "France
Atlantic" before reaching a crescendo in the genre-packed tour
de force, "La Casa Blanca." This band - forced to attach A.D.
to its name for legal reasons - has a great sound, if only they could
take it to the next level with actual songs. Adding to the timelessness
of the music, however, is a vinyl-looking CD. David Thornton
Marita Brake The Celtic Rose (Bodyplanet). Drink
it down with pints of pale ale: 4 ribs.
A concept album if there ever was one! Having never set foot on the
Emerald Isle, this Illinoisan with a stellar musical resume and an eye
for the movie soundtrack industry doesn't hold back her affinity for
all things Irish in her first Celtic-inspired effort. Starting with
the pretty piano tinkling and clean acoustic guitars and strings of
the opening instrumental (which is reprised at the close of the record)
and followed by two numbers which really show off Brake's resonant voice
is another wordless wonder, "The Paisley Shawl." After the
ethereal "Standing Stones" - like something you'd hear overhead
while browsing through the bookstore at Great Smoky Mountains National
Park - is another instrumental, the piano-only "Innisfree,"
followed by the haunting title track - and now you can shut off the
CD player, unless the a cappella of "On Me Mother's Grave"
might intrigue you. This ain't Sinead O'Connor or Dolores O'Riordan
(thank God for small miracles), but the Irish imagery is authentic and
well intact. David Thornton
The Chemistry (Razor & Tie). Reeks like old
leftovers: 2 ribs.
The first impression: Like we need another Cali pop-punk band. The second:
Man, this sounds a lot like Third Eye Blind. With guitarist Thomas Scriven
saying (much less admitting) that a TEB show "totally changed my
life," The Chemistry enlisted that group's guitarist, Kevin Cadogan,
to man the boards at the famed recording studio The Plant in Sausalito
for its debut. The result is obviously somebody else's vision (even
the words "simple life" on "Deja Vous" pay pathetic
tribute to Stephan Jenkins' "Semi-Charmed" ramblings; virtually
every song sounding like a dead - i.e. lifeless - ringer for Cadogen's
old outfit, especially on the aptly titled "The Same" as well
as "She Takes You." Highlights of this thoroughly banal batch
include "Jones" and "Still Alive," which would have
wisely been put among the opening tracks, but all we get there are great
guitar intros that quickly dissolve into the mopey and whiney holding-back
blahs. Let's just hope this isn't the launching point of another 10-year
soft-core cycle that TEB so unceremoniously heaped upon the "alternative"
record industry. David Thornton
Turpentine Brothers We Don't Care About Your Good Times (Alive).
Lean and mean: 4 ribs.
Nothing particularly original here, or well recorded for that matter
(which just adds to the record's psycho-night-at-the-skating-rink overtones),
but everything about this bare setup of guitar, organ and drums played
through Leslie speakers "bigger than Oprah" is deliciously
edgy and dirty swagger, best exemplified in "Somethin's Not Right"
and the instrumental "Wrong Night" as well as the Curtis Mayfield
cover "Fool For You," the "A Girl Like You" (Edwyn
Collins) guitars of "One Man" and the title track's "soul"
send-off. Give these Boston boys – and girl - a bigger budget
and they're bound to go places. In the meantime, you'll likely catch
them playing your town's seediest dive bar. David Thornton
Mark Gothard Poppy Fields & Pearls. Half baked:
2 ribs.
Deriving a title paying obvious homage to Tom Waits' "Heartattack
and Vine," this L.A.six-string slinger brings a street performing
vibe to his plaintive and reflective yet repetitive guitar grooves.
Though possessing an appealing voice, especially on "Ode to Jack,"
"Whispered in Your Ear" and "One of the Angels,"
much of the writing is way off the mark (for example, "If Thomas
Jefferson Were Here" will have you thinking, "He can't be
serious!" And listening to "Something to Me" will have
you wondering, "I thought the NEXT song was called "Sleep"!)
The two bonus tracks, including the Tom Petty-ish "Blaze,"
are better but still far from great. As Simon Cowell would so callously
say, "Don't quit yer day job" ... just yet. David Thornton
Sunspot Cynical. Well past expiration date: 1-1/2
ribs.
Straight from the Dairy State comes this festering pile of pure American
cheese. Following the passionately putrid "The Breach" and
Live-like "Way I Fall" is a Husker Don't stab at cool called
"Turn This Off," which you would be wise to do though it IS
the album's rockingest tune. "The Heidegger Paradox," an oh-so
Loverboy toast to T.G.I. Fuckday, pretty well encapsulates Midwestern
hedonism before the album's sophomoric lyrics (made even worse with
liner-note guffaws) reach a low point on "Scott Bakula," which
quite possibly could be the worst song EVER! The coda of this mercifully
short set is called "The Happy Song," and that's exactly how
you'll feel once it's all over - unless you're unfortunate enough to
discover the bonus track. One has always heard that Madison is a great
party town, but all the accolades this trio have received over the years
make you hate to hear what else Wisconsin has to offer! David Thornton
NYCO Two. Processed to within an inch of its life:
2-1/2 ribs.
Leader Ted Atkatz, who took a yearlong sabbatical as principal percussionist
for the Chicago Symphony Orchestra, overreaches his influences on this
quartet's oddly titled debut effort. Cases in point: "Surrender"
(John Mayer), "Soda Can" (Jeff Buckley), "Side of the
Road" (Ben Folds) and "Jilli" (Coldplay). Things are
actually funked up a bit for "Let Me In" and "Cash For
Time," "2X21" is all of one minute of spacey coolness
and the souful opener "English Song" is nice, but don't believe
the hype. David Thornton
Victory at Sea All Your Things Are Gone (Gern Blandsten). Raked
over the coals: 3-1/2 ribs.
You can't blame the dour mood here, after their Japanese violonist was
deported and the drummer's house - which also served as the Boston band's
practice space - was destroyed by fire, forcing the group to cancel
its first tour in 12 years. Highlights among the 10 numbers belted out
by chief songwriter/guitarist Mona Elliott in a most un-Mama Cass-like
baritone include "Cecille" and the even more passionate "Bored
Otherwise," the lyrical genius of "The Letter" and other
such emotional gems as "Four Leaf Clover," "The Party"
and "No Such Thing as Hearts," where Elliott really gets to
rip. Interesting side note: Dave Norton is the first drummer to play
on two consecutive Victory at Sea albums! David Thornton
Richie Hawtin DE9 - Transitions (Novamute). As
original as Adam's rib but overly ambitious: 2 ribs.
Now is the time on "Sprockets" when we dance! This latest
in a series is a mind-numbing, barely audible 21-song affair (28 on
the "superior" DVD version) where one of electronica's most
prolific artists uses the latest software to "strip apart, and
then reassemble, his component tracks to make completely new pieces
of music" that Hawtin has given his own names for. The whole thing,
which could be likened to a 75-minute cell phone ring (though the last
two tracks are fairly good), plays like a one-upmanship effort on Hawtin's
part, and he even admits that it might piss other DJs off. One of geekdom's
finest hours, but this wasn't made with listeners - much less dancers
- in mind. David Thornton
Misstress Barbara Come With Me…(Uncivilized World). More
comebacks than a McRib sandwich: 3 ribs.
As the album title suggests, this Montreal Sicilian invites all comers
to "share a new groove" as she embarks on her 30s - even showing
her face for the first time ever on the sleeve. After the opening shot,
which exalts "this is too hot" a whole lot, the Queen of Techno
- aka Barbara Brown when spinning house beats - takes us on a journey
of mostly minimalist electro funk on standouts like the bomb-dropping
"Don't You Want," the filthy beats of "He-Man,"
the tongue-in-cheek "I Love You" (which along with the overly
repetitive "Eleven O Seven" is an original track) and "Pimp
the Box," which gives new meaning to the term "arcade fire."
For downshifting away from her usual hard drive and mixing things up
a bit, "Miss Stress" pretty much passes the test. David
Thornton
Lotek Hi-Fi Mixed Blessings. 3-1/2 ribs-Shake
and bake.
Across the pond, urban music takes on more of a West Indian than hip-hop
vibe and with the exception of "How It Go," that's mostly
the case here. Opening with the jam dub rock of "Ram Dancehall"
(featuring Earl J) and the straight-up reggae on the under-two-minute
"Blessings," the record reaches a peak with "What You
See" and "Slowburn" followed by Shlomo's lightning-fast
raps on "Dazzle Interlude," the raga riddims of "Move
Ya Thing" (featuring Roots Manuva and Sandra Melody), the rootsy
"Sticks & Stones" and the bouncy "Showdown."
(U.K. labelScore) David Thornton
Kaotik Poem Of A Stranger. 3 ribs-best
eaten on Sunday.
Man who knew that a Southern Baptist white boy from Cookeville, Tenn.
could flow like Kaotik? Though his rhymes are often blatantly religious
and downright controversial, Poem Of A Stranger is nothing less than
an honest portrayal of life lived in a small West Tennessee town. The
album is proof that hip-hop transcends big city turmoil-infused youth,
but has spilled over into all areas of the world. “Prologue”
opens the album with a smooth and catchy hook that is hard to shake.
Other tracks come close to the quality of the opening’s mantra,
but sometimes get muddled in opinionated proselytizing. Will Jordan
Giacomo Fiore Tones From an Open Heart. Organically
fed: 4 ribs.
As suggested by the title, these 10 tracks are instrumental interpretations
of moods - mostly odes to loves lost and found. Barring the occasional
bongo beat, tap of the tom-tom, body slap or rise and fall of a rain
stick, this is ideal Sunday morning reflection music - with no frills
to mess with your mind. Highlights of this independent release from
the 22-year-old "Italian John Mayer", a transfer classical
performance major at Nashville's Belmont University, include the exceptional
"A Hundred Days/Dance of the Lilies," the happy-go-lucky yet
tinge of sadness in "Dealing With Rejection" and the haunting,
achingly beautiful "Genteel" with "Song Remains the Same"
strings provided by his friend, Ashley. David Thornton
Genghis Tron Cloak of Love EP. Oink!
3 ribs.
Listening to these five songs recorded in five days,it becomes immediately
apparent that Genghis Tron aims to cram as many genres into their debut
as possible. After the opening scattershot of "Rock Candy"
and "Arms'" ambience spliced with mayhem, "Blue Monday"
meets Slayer on "Laser Bitch" and "Sing Disorder"
closes things off with machine gun precision. The sense is that everything
would be all right if they'd just stop freaking out, but maybe it's
not much of a surprise that such clean-cut and (two-thirds) bespectacled
college kids can spew out such venom. (Crucial Blast)David
Thornton
The January Taxi Keep Quiet, They Might Hear Us (Vacant Cage).
Like Marilyn Manson, a couple ribs short of a full rack: 3 ribs.
Adding a second guitarist, this Arizona ensemble leads things off with
the obvious single, "The Ashtray Parade." The band's sound
bears a striking resemblance to Failure, which wouldn't be such an unsuccessful
predicament if this well-executed, expertly written mini-LP wasn't just
plodding along without a spark. This is what happens when overreliance
on radio-readiness becomes a hindrance. David Thornton
Frontiers: Behrouz & Yousef (Thirsty Ear). 4
ribs-a buffet of flavors.
The UK and US collide in a melodious mixture of dance tracks as Renaissance
pit together San Francisco DJ Behrouz and Liverpool-bred Yousef in a
double disk CD compilation Frontiers. In this global dance compilation,
doors are kicked off their hinges as genres are blurred and all areas
touched. From opening “Shine For Me” to coda “Perfect
Traveler,” Frontiers is an unpredictable landscape of influences
from around the world. Will Jordan
The Life and Times Suburban Hymns (DeSoto). Bone
du jour: 4-1/2 ribs.
This Kansas City three-piece masters the moog sound on their first full-length
release. After closely mimicking 1983-era U2 on "Coat of Arms,"
bassist Eric Abert's earlier work with Steve Albini becomes apparent
on cuts 3-6, especially "Skateland." Then, just when you're
Thurston for Moore guitars comes "Running Redlights," slowing
things down again to "Shift Your Gaze," revving back up a
bit for "Mea Culpa" and coming to a grindingly slow halt with
"A Chorus of Crickets." The track list here plays like a concept
album; just curious if they're an answer to The Verve's classic swan
song? David Thornton
Zilla Egg (Zillamusic). 3 ½ ribs-best
eaten raw.
They have no idea what they’re going to do when they get together,
but when Zilla members step behind their instruments, it’s always
a funky, eclectic sonic experience. From down-tempo to jungle, trip-hop
and house-trance, each show is 100 percent organic, improvised and never
the same. The Zilla three-man roster includes: Michael Travis (drums,
percussion, keyboards and mallet Kat), who’s spent most of his
musical career as percussionist for The String Cheese Incident; Jamie
Janover (hammered dulcimer, mini-kit, percussion, sampler, electric
kalimba and sitar) is an acclaimed hammered dulcimer wizard and Aaron
Holstein (guitar, bass, sampler and keys), who’s also played with
Boogie Shoes and Vibe Squad. Egg is a compilation of Zilla’s fantastically
raw, yet technically honed sounds. Will Jordan
Nuclear Assault Third World Genocide (SPV). 1
½ ribs--spoiled in the center.
This year marked the 20th anniversary of Nuclear Assault – a New
York band renowned for their involvement in the early thrash scene.
Unfortunately, the band never progressed and succumbed to the doldrums
of half-baked has-beens. Third World Genocide is the band’s first
studio album in over a decade. If this performance, which is anything
but nuclear, is any indication, then the band should go back into hibernation.
This album sounds straight out of 1985, you decide if that’s a
good thing. Compared to most metal, this is corny lullaby fluff. Shane
Newsome
Koufax Hard Times Are in Fashion (Doghouse). Way
overdone: 3 ribs.
They Might Be Giants, James, XTC or, heaven forbid, Barenaked Ladies!
Joining Koufax for its fourth release are the brothers Pope, Robert
and Ryan, growing apart from The Get-Up Kids and distancing themselves
from Emo like this Midwestern outfit did from that genre's seminal label,
Vagrant Records. Laregly recorded in small-town Kansas, the quintet
interprets singer Robert Suchan's brief expatriation experiment in Prague.
Once the annoying bounce of the opening trilogy finally subsides (O
is not a bell, it's a circle - shut up!), the ensuing mostly midtempo
numbers make for a much better record. Though cleverly written throughout
- especially the closer, "Colour Us Canadian" - "Hard
Times" proves overly ambitious and a bit pretentious, and if for
some reason you want to hear a HAPPY Robert Smith, you could just dust
off "Friday I'm in Love." David Thornton
Longshot Civil War Pt. 2 (EV Productions/ Risky Bizzness).
4 ribs-smacks of flava.
It’s no wonder why Longshot has been dubbed
the hardest working emcee in Windy City. For his third release Civil
War Pt. 2, the rapper doesn’t pull any punches and in fact drops
his most ambitious work to date. Civil War Pt. 2 is a 30-track album
with guest appearances from over 30 of Chicago’s best independent
artists, providing an authentic survey of Chi-town’s underground
hip hop scene. Longshot worked with every crew in the city and each
track is regionally representative from Diverse and the Molemen producers
Panik and PNS on the Northside, Thaione Davis and Rubberoom’s
Lumba from the Southside, Psalm One and Earmint from the Westside and
everyone in between. Longshot began the Civil War concept in 2004 with
Pt. 1, a mixtape with the goal of bringing together all of Chicago’s
independent emcees and producers. With Pt. 2 he pulls it off, hopefully
catapulting Chicago’s underground hip hop scene into the mainstream.
The release also features a DVD of studio sessions, interviews, live
performance snippets and more. Will Jordan
The 101 Green Street (Limekiln). Chew
on this: 4 ribs.
As evidenced by the album title and a song named "Wolf," this
amped-up albeit jangly power trio is obviously paying tribute to early
and mid-period R.E.M. - not what you'd expect from the mean streets
of New York. A trip down Green Street offers a great overview of '80s
alternative rock, starting with Husker Du and Connells knock-offs, getting
oh-so(Matthew) Sweet on "Wife" and then downright Church-y
with the pristine picking and ringing at the close of "Verve."
Following the Sonic Youthful soundscape of "Generals," the
R.E.M. references really surface by taking a literal "Left On"
for some "Bus Fare" before ending the Ride with even some
shoegazing on "Regret." David Thornton
Kilo of Black Bondage Fear The Windows (Ronda).
3 ribs-a bit tough…all dark meat.
Fear The Windows paints a somber, urban landscape with each
haunting track. Black Sifichi, Aka_bondage and Somekilos come together
as Kilo of Black Bondage on Fear The Windows and evoke a constant
paranoia with the release of experimental electronic sounds filled with
ominous, politically macabre spoken word, eerie effects, a whining trumpet
and dizzying hypnotic beats. The mind must be completely wide open for
this one. Will Jordan
I Am Ghost We Are Always Searching (Epitaph). 1
rib--Unsuitable for human consumption.
Record labels, constantly in search of money, will do anything to earn
a quick buck. Unfortunately, that means that true music lovers are bombarded
with so-called copycat bands. The record labels figure, for instance,
that if Evanescence is popular then any band that sounds like Evanescence
is sure to draw a fast dollar. Scouts rush out to find the generic duplicates
and add a little salt and seasoning to spice up the appeal.
I Am Ghost, a band of naïve youngsters out of Southern California,
is a perfect example of the typical copycat band. You guessed it. They
sound like Evanescence. In other words, they sound like a platoon of
slimy turds on their march towards Shit Mountain. This is a bad thing.
Simply put, I Am Ghost is a steaming dog pile with a thick coating of
glitter and cheap-smelling perfume.
The band displays a certain level of musical talent. The drummer, in
particular, is quite good. Performance wise, everything is intact. Unfortunately,
the material itself is beyond awful. I was immediately repulsed. Save
your $15 and turn on the radio. You will hear the same crap everywhere.
This is basically third-generation nu-metal at the height of suckitude.
If you have any taste at all, avoid this album like the plague. Shane
Newsome
Love in the Fascist Brothel The Plot to Blow Up the Eiffel Tower.
Something to sink your teeth into: 3-1/2 ribs.
Burning through at a mere 24 minutes without a break, this San Diego
Quartet pretty much junks the jazz/punk hybrid for very Zappa-like versatility
on its third release. The collage of cacophony begins innocently enough
with the Kentucky Derby call of "Reichstag Rock" before descending
into a cascade of distorted decandence on "Drake the Fake"
and "Angry, Young and Rich," which employs a weird piano that
drifts into pounding propulsion and shrieks. On the last line of the
record, singer Brandon Welchez belts out, "We made it out by the
spit in our throats." Thankfully, it sounds like he also blew his
nose (unlike Billie Joe Armstrong and a long line of others), so originality
is more assured. And don't miss the highly political queer-core artwork,
a complement to their homoerotic live show. David Thornton
Greek Smell My Talent (Akhenation). Big
boasts served with stale toast: 2-1/2 ribs.
Jimmy Greek - part of the five-man Jam Faction that comes off more like
a third-rate G12 – arrives straight outta Dirty Jersey for his
third effort. Touted as being akin to a constant stream of consciousness
(now that would be a LITTLE more impressive!), that other Jimmy the
Greek's ignorant comments set to music may be more entertaining than
this 16-song set of frat-boy rap. From the opening "Intro,"
Greek keeps writing checks that his mouth can't cash. "Karaoke
Shutdown," for instance, is a good idea but falls flat for its
lack of a vicious attack. And speaking of attacks, the woefully out-of-date
dis on Marky Mark ("Mark Wahlberg's Chest") is just one of
many laughable stabs at way too old-school and mainstream celebrities.
A glancing listen could make Greek pass for a more intelligent Eminem,
but he's infinitely less satirical and lyrical. Though the slow grooves
(provided by emcee Kavorkian, who instead of pulling the strings should
have pulled the plug) and background vocals are good, Greek ultimately
lacks the skills to pay the bills. David Thornton
Vaux Beyond Virtue, Beyond Vice (Lava). 3
½ ribs-finger lickin’ good.
Vaux come out swinging with their debut release Beyond Virtue, Beyond
Vice on Lava Records. The six-man band has grown incredibly since
their indie label EP introduction. The sound is now vastly big and lyrically
has a depth that drops leagues below where it was before. “Are
You With Me” grabs the listener by both ears, dragging them along
to the ever-present mantra that is the song title. Singer Quentin Smith’s
lyrics are infused with emotions that leave sleeves drenched. With songs
like the tear-jerking balladesque “The Last Report From…”
the powerfully epic “Need To Get By” and the rhythmically
catchy punk track “Burn The Bandwagon,” Vaux have carved
a solid niche for themselves in the alt-rock world. Will Jordan
Oh Astro Hello World (Illegal Art). 2-1/2
very spare ribs.
No, your CD player is not fucked up. Created from cut-ups of customized
software, Oh Astro is a new audio project by cybernonymous artist and
former music journalist Jane Dowe. Inspired by the "culture jamming"
and copyright infringement activities of media molesters Negativland,
Dowe is best known for using 2,500 segments from the song "Jackass"
on 1998's "Deconstructing Beck" compilation. Though accurately
described as "pop music from another planet" and sounding
like a fast-paced game of video table tennis, these clicks, beats and
background noise are not meant for mass consumption; it's not even certain
if acidheads would appreciate it. So, kudos for the concept but zilch
for listenability, though track 2 does contain a glimmer of soul and
and the five-minute closer - with accompaniment by husband Hank Hofler
- has moments of sounding like an actual song. This release, though,
begs one big question: Where does Dowe glean her "song" titles
from? David Thornton
V:28 Soul Saviour (Vendlus). Worth licking
your chops over: 4 ribs.
Taking a cue from Revolting Cocks, this second of three planned releases
from a trio of black-metal/industrial "all-stars" ranges from
the Fields of the Nephilim and Celtic (that's pronunced with a K, by
the way) Frost isms of "Unleash the Energy" to the techno
beats and 'boards of "Infected by Life." Other highlights
following the thunderous assault of the album's finest track, "The
Purifying Flames," are the menacing yet glowing "Psalm 69"
guitars of "deConstructor," and the final cut, "Dead
Men's Choir," which provides a nice break from the blitzkrieg.
David Thornton
Ellay Khule Califormula (Decon/Project Blowed). 3
ribs-Westside flava.
He has contended in the hip-hop ring for years under the alter ego Rifleman,
but finally unmasks his true identity as Ellay Khule. Rumored to have
overthrown Eminem in an early rap battle, Khule grabs the mic with authority,
spitting west coast-themed flow with rapid-fired ferocity. Califormula
is an album years in the making and is in the same vein as label mates
Busdriver and Aceyalone. Will Jordan
Nada Surf The Weight Is A Gift (Barsuk). 3
ribs-needs a little more warming.
Nada Surf has been around for ten years and perpetuates their longevity
with their latest release, The Weight Is A Gift. The NYC trio,
comprised of Matthew Caws, Daniel Lorca and Ira Elliot, were basically
discovered by Ric Ocasek, who produced their debut LP, High/Low.
When the full length Let Go dropped in 2003, Nada Surf were
blasted across TV waves through MTV and the world tuned in. The
Weight Is A Gift picks up where Let Go left off with dreamy,
rainy day tunes such as “Do It Again,” “Your Legs
Grow” and “Comes A Time.” Will Jordan
Pitbull Money Is Still A Major Issue (TVT). 3
ribs-has a tangy flavor yet spicy punch.
Still chomping at the bit, Pitbull once again proves his bark is as
big as his bite with the follow-up release Money Is Still A Major
Issue. While Pitbull has become a common name in Crunktifried rap,
he also remains one of the biggest contenders in the Reggaeton movement
with his bilingual lyrics and Caribbean style. The new release features
13 rare and remixed tracks and is a companion to his gold debut album,
M.I.A.M.I., which released last year and featured the hit singles, “Culo”
and “Toma.” Will Jordan
Tha Alkaholiks Firewater (Waxploitation/Koch).
4 ½ ribs-still smacks of flava.
Firewater, the fifth and final album by The Alkaholiks will
precede the rap group’s “farewell tour.” The Liks
(Tash, E-Swift and J-Ro) have decided to retire after the tour, but
go out with a familiar “bang.” From opening “The Flute
Song” to coda “Hangover” Firewater was produced
and recorded in the same vein as other Liks’ albums, which include
X.O. Experience, 21 & Over, Coast II Coast and Likwidation.
Will Jordan
North Mississippi Allstars Electric Blue Watermelon (ATO).
4 ½ ribs-soul food
chopped and screwed.
Screwed and Chopped EP
North Mississippi Allstars drummer Cody Dickinson has become obsessed
with the screwed and chopped movement, which has been oozing out of
the Houston, Texas rap scene. Electric Blue Watermelon was released
on Sept. 6, 2005 and Cody was anxious to get the new record back into
the studio to give the tracks a remix treatment. Dickinson put a handful
of songs in the hands of DJ Jimmy D “the Michael Jordan”
of the chopped and screwed movemnt, which drastically slows down the
tempo and applies various techniques such as skipping beats, scratching
and stop-time as well as sending portions of the music through stand-alone
effects to make a “chopped-up” version of the original.
Will Jordan
Clubplanet Party Mix (Rhino). 4 ribs—a whole
tasty party sampler.
Mixed by Crooklyn Clan
Rhino Records and Clubplanet join hands to keep the party pumping with
their house party mix, featuring pop, soul, R&B, funk and rock music
remixed by DJ Riz and Sizzahandz aka Crooklyn Clan. This release features
25 tracks from Run DMC’s “Walk This Way” to House
of Pain’s “Jump Around” to Ram Jam’s “Black
Betty” and Soft Cell’s “Tainted Love.” There’s
literally something for everyone and will keep any party rocking until
the wee hours of the a.m. Will Jordan
The Suicide Girls Black Heart Retrospective (Epitaph).
The Suicide Girls are the real thing. Dyed blue hair, piercings, tattoos,
horn-rimmed glasses—these ladies aren’t the air brushed,
bleach-blond beauties typical of burlesque. Capitalizing on the reality
that women are just as pretty when depicted in their natural or unnaturally
surreal surroundings, these girls may strip, but their intelligence
and honesty remains intact. In addition to a DVD documentary, which
chronicles a burlesque tour, that takes place across two continents,
Epitaph released a compilation CD, Black Heart Retrospective,
a macabre mix featuring everyone from Ministry to Bauhaus and The Cult.
Will Jordan
ti
Inquisition Revolution ... I Think It's Called Inspiration (A-F).
Gritty - better have some toothpicks handy: 3-1/2
ribs.
Originally released in 1995,
right about the time Green Day and the Offspring were garnering gold,
proximity to D.C.'s Bad Brains and Fugazi had obviously rubbed off on
these Richmond punk rockers, who eventually went on to separately form
Strike Anywhere, Ann Beretta and River City High. Except for a "Highway
69" harmonica on "Hotel X (Idle Kids Part Two)," this
searing, snarling and snotty set never lets up for a second. David
Thornton
Sarah Blasko The Overture & The Underscore (Low Altitude).
Sucks like marrow: 2 ribs.
Taking a big bite out of Fiona's
apple and falling off the Natalie Imbruglia bandwagon about eight years
too late, this Aussie chanteuse belts out 11 lilting songs on her first
LP. Blasko, who honed her haunting chops by singing in church choirs,
and bandmate Robert Cranny play everything but drums and percussion
on the album as well as share songwriting and production input. The
sparse and melancholic music contains just enough textured effects in
the vein of P.J. Harvey's "To Bring You My Love" to arouse
interest, but Blasko's register is often off and the overwhelming sense
is that - however beautifully executed – this has all been done
before and maybe she should stick to EPs for now, as the disc rapidly
loses steam after seven tracks. David Thornton
Ray Charles Genius & Friends (Atlantic/Rhino)
The enormous success of the film
Ray, coupled with the unexpected commercial success of Genius
Loves Company in 2004 and his subsequent passing, has rekindled
interest in Charles’ music. Guitarist John Scofield pays homage
to both Charles’ musical versatility and artistry with this tribute
release, while Genius & Friends gathers various duets that
Charles had recorded in 1997 and 1998 with collaborators just as diverse
as those on Genius Loves Company.
Scofield’s an ideal soloist to explore Charles work, since he
has a similarly broad musical approach. He covers the landmark R&B
and country numbers, while enlisting some amazing singers to handle
the vocal duties. Dr. John, John Mayer, Mavis Staples, Aaron Neville
and Warren Haynes are among those who appear on such songs as “What’d
I Say,” “Night Time Is The Right Time,” “I Can’t
Stop Loving You” and “You Don’t Know Me,” with
Neville particularly dashing on “You Don’t Know Me”
while Staples and Dr. John are consistently first-rate. The instrumental
collaborators include longtime Charles musical companion David “Fathead”
Newman, who adds soulful tenor licks to “What’d I Say”
and” Hit The Road Jack.” Another key figure is keyboardist
Larry Goldings. Whether chiming in on Hammond B-3, piano, Wurlitzer
or even vibes, Goldings sustains the energy developed by Scofield and
often extends it, while bassist Willie Weeks and drummer Steve Jordan
oversee the rhythmic foundations. Able to supply frenetic accompaniment
or flamboyant lead phrases, John Scofield and company don’t just
recite Ray Charles’ tunes, they reinvigorate them.
Charles was generally in fine form on the 14 pieces comprising Genius
& Friends. He could always adapt to anyone’s tendencies
or style, and thus could easily accommodate booming, soulful singers
(Angie Stone, Ruben Studdard, Gladys Knight, Patti Labelle), laid-back
stylists (Willie Nelson), fish-out-of-water types (Chris Isaak, Idina
Menzel, Laura Pausini) and longtime fans struggling to find a comfort
zone with their idol (George Michael, Alicia Keys, Leela James, John
Legend). Listening to Charles making adjustments during choruses, subtly
shifting lyric emphasis mid-song or smartly changing his own approach
without ever affecting a song’s mood and pace, Genius &
Friends is a lesson in partnership and compromise without sacrificing
style or integrity. It’s also one last addition to a glitteing,
incomparable legacy. Ron Wynn
The Long Winters Ultimatum EP (Barsuk).
Need to brush up on technique: 2-1/2 ribs
This short set leaves behind
the pop-rock numbers for which the band is known and immediately takes
off on an ill-fated space shuttle flight with "The Commander Thinks
Aloud," but it's mostly a sharp descent from there. Listening to
a live version of "Ultimatum," which closes the disc, makes
one realize how bad a record is if it's an EP and you still can't wait
for it to end, not to mention that it's not exactly a selling point
for their stage act. It's obvious this EP exists just to tide fans over
for next year's full-length release - and let's just hope this was an
experiment. David Thornton
Stubbs The Zombie: The Soundtrack (Shout! Factory). Variety
is the spice of life: 4 ribs.
This musical accompaniment to
a recently released video game opens with a stale version of "Lollipop"
by Brooklyn indie popster Ben Kweller but quickly redeems itself with
The Ravonettes' "My Boyfriend's Back" and an eerie rendition
of "Earth Angel" by Death Cab for Cutie which even usurps
the original. Also included is "Strangers in the Night," quite
possibly Cake's best song ever. The disc hits a lull with offerings
from The Dandy Warhols and Oranger (OK, maybe there's not much material
to work with), but finishes strong starting with The Flaming Lips' sublime
treatment of "If I Only Had A Brain," with Wayne Coyne in
what hardly could be deemed as scary voice. Maybe Coyne is paying Lip
service to Bonnaroo fans who, in 2003, were promised a showing of "The
Wizard of Oz" set to the tunes of "Dark Side of the Moon"
and were denied - but then that may have been too much for a fragile
mind to take. This disc would make a great stocking stuffer for grandfolks
open to a hip spin on some of their '50s favorites; it got my mom's
stamp of approval. David Thornton
Beastie Boys Solid Gold Hits (Capitol). 5
ribs-a full slab.
The B Boys have been dropping science since the
very beginnings of hip hop. As a matter of fact, they popularized the
phrase, “Dropping Sceince.” In celebration of their 24th
anniversary, Capitol Records finally decided to lionize Michael “Mike
D” Diamond, Adam “Adrock” Horovitz and Adam “MCA”
Yauch—known collectively as Beastie Boys. While there’s
no way to ever put together a single album with every Beastie Boy hit
(there’s just too damn many). Capitol was able to capture 15 bombing
tracks, which covers each chapter of the NYC trio’s storied career.
Solid Gold has a taste of everything Beastie--from the old days (“Brass
Monkey,” “No Sleep ‘Til Brooklyn” and “Fight
For Your Right”) to west coast detours “Shake Your Rump,
“So What’cha Want” and “Sabotage,” to
last year’s return To The 5 Boroughs’ and everything in
between (“Ch-Check It Out,” “An Open Letter To NYC”
and “Triple Trouble”). Will Jordan
Black
Tie Dynasty This Stays Between Us EP (Idol).i
Lays on sonic textures really thick: 4 ribs.
Need a Fixx for guitars that
soar like Seagulls? Well, this little Texas band that could has the
Cure. From the skippy off-beats of opener "Crime Scene" to
the ectoplastic, Cocteau-esque keyboards and guitars of "Ghost
of a Secretary," these six little gems have you covered. David
Thornton
Chris Botti To Love Again: The Duets (Columbia)
The time is fast approaching
for a moratorium on pre-rock collections and duet discs, because the
market’s glutted with plenty of each type. But don’t let
that caveat dissuade you from getting one of the better recent entries
in both genres, as magnificent trumpeter Chris Botti delivers an enchanting
and sophisticated collection spotlighting vintage show tunes, ballads
and standards. His unaccompanied playing is so rich, technically flawless
in all registers and striking that it’s almost a shame the label
didn’t just let him cut an instrumental set. His melodic expositions
and solos on “Embraceable You,” “What’s New,”
“To Love Again” and “I’ll Be Seeing You”
retain your interest, no matter how many different versions of these
songs you’ve heard. By contrast, the vocal numbers are less consistent,
mainly because some of these folks are either grossly overexposed (Sting)
or doing their best on songs that just don’t fit their profile
(Jill Scott on “Good Morning Heartache” and Steven Tyler
on “Smile” are exhibits A and B here).
Michael Buble’ emerges as the most memorable
interpreter, mainly because “Let There Be Love” is a prototype
piece for his Sinatra-tinged delivery. Paula Cole and Gladys Knight
do commendable jobs on “My One and Only Love” and “Lover
Man,” respectively, but it’s still another case of outstanding
non-jazz singers determined to reaffirm their artistic credentials.
They succeed, yet there’s no doubt that the finest performances
here come from the trumpet of Chris Botti. Ron Wynn
The Cloud Room (Gigantic). Saucy, lip-smackin'
satisfaction: 4-1/2 ribs.
Twenty-eight pages of press just
can't be wrong! Segueing from the indie smash "Hey Now Now"
to the chewy bass lines of "Waterfall" and Mark E. Smith vocal
inflections on their ode to power failure, "Blackout!", these
bright lights of New York's New Wave have managed to create a sophisticated
synth masterpiece that's not overly arty - so well, in fact, the first
six perfect pop confections flew off the booty-shakin' charts at an
impromptu "American Bandstand" session at my sister's house
over the Thanksgiving holidays. Named after a Prohibition-era speakeasy
that used to sit atop the Chrysler Building, the band is fronted by
J., a California transplant who was screwed out of a job working for
cult film director Hal Hartley but decided to stay on in the Big Apple
to front a band that combines the sounds of Pulp, New Order, Roxy Music,
The Postal Service and Modest Mouse with a fashion sensibility akin
to a poor man's Spandau Ballet - a rare triumph of style over substance.
David Thornton
Hopewell:
Hopewell and the Birds of Appetite (Tee Pee). Meaty
disc comes with all the fixins: 5 ribs.
Hopewell hardly succumbs to the sophomore jinx,
with what at first appear to be sloppy compositions unfolding into lush
intricacy - from the Nirvana chords on the opening "Trumpet for
a Lung" to droopy yet sunny organs two tracks later on "Praise
Twice." Singer Jason Russo, who's spent time in the revolving door
of the legendary Mercury Rev, gives a downright nasaly Shannon Hoon/Perry
Farrell delivery on "Sugar in the Honey," which is followed
by the positively druggy/dreamy "Synthetic Symphony" and the
instrumental title track. These low-key, psychedelic dirges resonate
like the Rolls-Royce of garage rock. David Thornton
RSL Every Preston Guild (Players).
3 ½ ribs-dripping with salsa.
The UK-based three-man production
outfit that is RSL throw down some serious jazz-nasty rhythms. Though
the Jazz-Latin vibe runs throughout their release, Every Preston
Guild , the album’s mood is tough to nail down. True to the
Latin/Jazz tradition (they travel with a nine-piece band), many of the
songs begin sleepily and then peak with dizzying percussive beats (“Every
Preston Guild,” “Star”) and some continue the sweet,
mellow movements (“Inside Looking Out,” “Cae La Lluvia”).
A couple of tracks come right out with less orchestration and more straight
forward dance pulse (“Wesley Music”).
Will Jordan
Beth Wood Marigolds (ASCAP). Sweet and
tender but lacks bite: 3 ribs.
"To me, 'Marigolds' is about
hope, joy and rebirth. Even the sadder songs have a glimmer of hope
that is always present in my writing. I just don't have it in me to
paint a depressing picture and leave it that way without a tiny ray
of light." And herein lies the
problem - overly innocuous fodder for the Lilith Fair set, baring a
striking resemblence to Paula Cole in not just looks alone. Don't get
me wrong, the playing and singing are impeccably gorgeous - even when
things get so Sheryl Crow on "Skeleton Tree" - but even beauty
wanes after a long 13 songs. Check into Victoria Williams for a more
vivid picture. David Thornton
Coleman
Hawkins/Eric Dolphy/Jackie McLean/Kenny Burrell Prestige Profiles
(Concord/Prestige)
These are four titles in a new
series from Concord/Prestige that repackages last year’s Best
of samplers into updated sets with bonus discs presenting related material
both from the spotlight performer and others. Coleman Hawkins was one
of the inventors of the modern tenor sax vocabulary. Though not quite
the swaggering giant by the time he arrived at Prestige, these tracks
cover some ‘60s sessions and show that Hawkins could still summon
the array of slurs, smears, blues influences and swing maneuvers from
his heyday. Other than the large band version of “Since I Fell
For You” that matches Hawkins with fellow saxophonists Pepper
Adams and Jerome Richardson, these are mainly small combo sets with
the robust Hawkins tenor setting the agenda and then various rhythm
section comrades coming in behind and around him. The bonus disc leads
off with a great tenor battle type tune, “Fourmost,” as
Hawkins matches wits with Eddie “Lockjaw” Davis, Buddy Tate
and Arnett Cobb. Though not the most essential stuff in the Hawkins
arsenal, these are nicely played, enjoyable tracks.
Alto saxophonist, bass clarinetist and flutist Eric Dolphy was perhaps
Prestige’s most visionary and imaginative player. His leaping
flurries and constantly edgy playing ruffled some feathers in the jazz
world among more conservative types that felt he was moving too far
away from basic musical values. These songs include his gorgeous, soaring
flute work on “Miss Ann,” rampaging low-register bass clarinet
playing on “G.W.” and “On Green Dolphin Street”
and his continually dazzling alto sax work. Some of these pieces also
had the rather unusual piano/bass/cello/drums configuration behind Dolphy,
with Ron Carter moving from his customary bass to cello and George Duvivier
handling the bass duties. Sadly, there’s no bonus material here,
but the 10 featured cuts provide more than an ample sampling of Dolphy’s
greatness.
Jackie McLean also forged an alternative territory on alto sax, though
he still maintained a link to the classic bop sound. But he was far
hotter than many of the West Coast types, and would eventually explore
the avant-garde and beyond during the ‘60s. Here he’s doing
predominantly blues and mainstream material, though his fiery duet with
fellow alto saxophonist
John Jenkins on the cut “Alto Madness” served as their nod
to the Coltrane/Rollins piece “Tenor Madness.” McLean touches
on familiar pieces “Embraceable You” and “Sentimental
Journey,” but also delves into more adventurous territory on the
cuts “Mirage,” “Strange Blues” and “Lights
Out.” The bonus disc profiles various McLean contemporaries, among
them Gigi
Gryce, James Moody, Sonny Stitt, Phil Woods and the grossly neglected
Sonny Criss.
Guitarist Kenny Burrell is equally at home doing relaxed, bluesy numbers,
participating in hard-edged jam sessions, or doing elegant solos backed
by an orchestra. The eight tunes here range from a masterful extended
work “All Day Long” to softer, lush interpretations of “It’s
A Wonderful World,” “I’ll Close My Eyes” and
“I Never Knew.” Burrell has never played
any excessive or unnecessary notes, managing to sound both smooth and
passionate, energetic and sophisticated. The bonus disc blends soul
jazz, blues and swing, with contributions from Tal Farlow, George Benson,
Jimmy Raney and Pat Martino among others.
This series also has selections from luminaries such as Miles Davis
and John Coltrane. It’s certainly not the type of comprehensive
set designed for longtime listeners, but the Profiles series can be
a good introduction for those either still learning about jazz or anxious
to find out its roots and history. Ron Wynn
The Deadly Snakes Porcella (In The Red). Messy
but stacked with flava: 4 ribs.
Called by "Vice Magazine"
as the "best rock 'n' roll outfit playing in Canada, period,"
this record has the feel of going to a friend's house for a jam session,
but the band insists its music derives far more from The Kinks, Nick
Cave and others than garage rock, though shades of Morphine and Goober
& the Peas rang through after repeated listens. In fact, this magnum
opus was created in a log cabin in the wilds of Ontario before the band
set off on tour with The Hives in 2004. Beginning with track No. 5,
"Gore Veil," the disc just gets better and better - ranging
from the '60s gospel of "So Young & Cruel" and very Elvis
Costello-y "Oh Lord, My Heart!" to the far-off late-night
AM radio ambience of "I Heard Your Voice" and the stunning
closer, "A Bird in the Hand is Worthless," which is also the
tentative title of a 20-song, double-LP vinyl release set for January.
David Thornton
Sam
Champion: Slow Rewind (Razor & Tie). Nice
and tangy but could use more marinatin': 3 ribs.
This New York-based band, not
a person, mixes fuzzy Crazy Horse feedback and grungy solos with pretty,
jangly and plaintive songs reminiscent of The Silos. The group is basically
a showcase for singer/songwriter/guitarist Noah Chernin, whose memorable
lines include "I am aggressively lazy" and "You plagiarize
your funny friends" on the opening title track and Alex Chilton-
and low-lonesome David Lowery-like vocalizations on songs like "Company
Town" and "You Can't See the Stars In This Town," respectively.
David Thornton
Maximo Park A Certain Trigger (Warp). Thin,
dry and falling off the bone: 3 ribs.
Something about this debut disc
from these Newcastle Englanders reeks of reaching for the "Franz"
prize but coming off more like Haircut 100 or a much less punky male
version of The Go-Gos. You'd think such minimal, bouncy and very early
'80s synth pop would be nothing short of infectious and deliciously
derivative, but the album suffers from a strange lack of hooks and its
intentionally tinny production (even the label admits these songs were
primarily written for the stage, and Tripwire's Chip Adams called their
live show at last spring's South By Southwest music festival in Austin
"fucking brilliant"). There are highlights, however, including
the unexpected scratchy guitar on "Signal and Sign"; a "Why
Can't I Have You" interlude on "Postcard of a Painting";
the catchy "Going Missing"; the pull-no-punches Wonder Stuff-iness
of "Now I'm All Over the Shop" and its "surrender song"
follow-up, "Acrobat"; and the short, sweet and hopeful closer,
"Kiss You Better." David Thornton
Finna Protect Me From What I Want. 4
ribs-tastes like chicken.
Finna make upbeat, catchy R &
B pop music with a twist of rock and a dash of jazz. Their release,
Protect Me From What I Want features the original four members
(L.A. Lopez, Moe Raw, Jason Ehleben and Todd Newland) but also seven
additional musicians creating extensive instrumentation and an overall
“big” sound. The Finna collective come out swinging with
opening track, “Blocking The Son” peaks with “Remember”
cries out with “Together” and slows down with “Pete
Rose.” Will Jordan
Odetta Gonna Let It Shine (M.C.)
Odetta Gordon’s blended
Delta and country blues with folk, children’s songs and spirituals
since the ‘60s, constantly blurring idiomatic lines and displaying
a strong, confident and dynamic voice on everything that she sings.
This concert disc has a holiday theme, and begins with her ringing versions
of “This Little Light of Mine,” “Rise Up Shepherd”
and “Mary Had A
Baby.” While she maintains the Christmas tone throughout, her
voice gets more demonstrative and expressive through the program, particularly
during the “Freedom Trilogy,” which simultaneously celebrates
the occasion and the spirit of liberation and escape from oppression
that’s characterized the Civil Rights Movement. She finally makes
one departure from the thematic norm, zipping into a poignant and explosive
version of “Midnight Special.” The disc concludes with a
wonderful bonus cut that matches Odetta and the Holmes Brothers on “This
Little Light of Mine.” While her beginning rendition was warm
and congenial, this version has more fire and vocal fuel, with the Holmes
Brothers supplying great harmonies and Odetta turning up the intensity.
Here’s a seasonal disc that’s much more than just another
recycling of carols and shopworn holiday numbers. Ron Wynn
Gravity Propulsion System Get Destroy (Ascetic). Could
rub you the wrong way or become mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmman
acquired taste: 3 ribs
The name threw me, expecting
a surfy, quirky sci-fi movie rave-up more in line with Man or Astro-Man?
(well, there ARE some obscure audio film clips thrown in here and there)
than some Skinny Puppy without the industrial plodding, unrepentantly
noisy early Sonic Youth, Sebadoh filler and Jesus Lizard-like shit you
hear on your local college station at 3 a.m. - but that's just the first
two numbers. Two-thirds of this Oklahoma City outfit works by day at
Hoffman Bikes, which serves as their practice space by night. Track
3 provides a nice refrain from "singing," and No. 6 actually
does move like their name suggests. The saving grace is that these "songs"
aren't as long as you might imagine, and the cover art of urinals sums
up the sound pretty well - they're pissed like an Amphetamine Reptile!
David Thornton
Steve Porter Homegrown EP (FDS). Sample
platter not fit for paper plate: 2 ribs.
New England DJ spins out what
is termed "progressive house," but these 14 uninterrupted
"songs" sound more like the longest Thompson Twins intro ever.
Though kudos go out for the impressive execution of the mix, "Homegrown"
is an apt title - you won't be dancing to this concoction with a New
Agey Orinoco Ono flow; this one's better suited for the sack. David
Thornton
Penuckle The Sun Beckons (Basement). 4
ribs-on fire!
Lean the seat way back, turn
the bass up and set the car to cruise control. Penuckle’s laid-back
flow on his debut release, The Sun Beckons drips with flava
the way west coast used to. Opening “Welcome” introduces
the smoothness of the mix with bass-heavy “Study Music”
and the like to follow. Penuckle has come a long way from hustling his
stylings out of the trunk of his car and rapping in talent shows. With
The Sun Beckons, the rest of the world will be introduced to
his infectious flow. Will Jordan
Watershed The Fifth of July (Idol). Jerked
like chicken: 3-1/2 ribs.
Columbus-Ohio's Watershed cranks
out the pure power pop for its first release in three years. Paying
homage to other Midwestern rawk acts like Cheap Trick, Soul Asylum and
early Goo Goo Dolls, the cliched and slightly anthemic party-life lyrics
work well for this 10-year-old bar band. The disc starts strong with
the single "Obvious" and picks up steam again with "Small
Doses" before taking a hard turn with "Laundromat." What's
amazing is that you can pull off this kind of music without the slightest
hint of metal or country ... well, until the first half of track 9 -
"New Depression." The album ends with a nice change of pace
with the Wilco-tinged sorrow of "Going Through the Motions,"
which is answered on a positive note with "The Best Is Yet to Come."
Not a great record, but pretty damn good at what it is - nothing more,
nothing less. David Thornton
Bob Marley & The Wailers Africa Unite: The Singles Collection
(Universal-Island). 5 ribs
Bob Marley died too young. When
complications due to cancer finally took him, he was topping charts
all over the world, leaving his fans begging for more. Something no
one was able to give for many years, until now. On Africa Unite,
Island Records, Tuff Gong and Universal joined forces to release 17
vintage tracks including the previously unheard, “Slogans,”
the first new official Marley track released in more than a decade.
It is believed Marley recorded the song in a Miami bedroom in 1979,
according to Universal. The tapes were kept at Marley’s mother’s
house and last year the reggae legend’s sons Stephen and Ziggy
revisited the acoustic demo. In 2005, Stephen overdubbed the tracks
with other instruments including guitar by Eric Clapton. The Marley
brothers produced “Slogans” specifically for this release.
Other highlights include a remix of “Africa Unite,” featuring
Will I Am of the Black Eyed Peas and “Get Up, Stand Up Vs. Jamrock,”
a “mash-up” of Bob’s classic and “Welcome To
Jamrock” the 2005 hit by youngest son Damian. Will Jordan
Frontiers: Behrouz
& Yousef (Thirsty
Ear). 4 ribs-a buffet of flavors.
The UK and US collide in a melodious mixture
of dance tracks as Renaissance pit together San Francisco DJ Behrouz
and Liverpool-bred Yousef in a double disk CD compilation Frontiers.
In this global dance compilation, doors are kicked off their hinges
as genres are blurred and all areas touched. From opening “Shine
For Me” to coda “Perfect Traveler,” Frontiers is an
unpredictable landscape of influences from around the world. Will
Jordan
A John Waters Christmas (Newline). 3 1/2
ribs-chase it down with plenty of egg nog.
Ahh the holidays. And who better
to share them with than the wonderfully twisted John Waters himself
There’s nothing that says Christmas like a compilation of the
most bizarre Christmas tracks ever heard. Waters has them all on one
disk, including Tiny Tim’s eerie rendition of “Rudolph The
Red-Nosed Reindeer,” the creepy “Happy Birthday Jesus”
read by Little Cindy, the hilarious “Here Comes Fatty Claus”
by Rudolph and the Gang or the catchy “Fat Daddy (Is Santa Claus).
And nothing is more nostalgia evoking than Alvin and The Chipmunk’s
“Sleigh Ride.” Will Jordan
Pat Boone Ready To Rock, Glory Train: The Lost Sessions, American
Glory, Latin Love, We Are Family, Hopeless Romantic (Gold Label/Oak)
Celebrating 50 years in the biz,
Pat Boone is hoping to accomplish something unprecedented in the music
world. He wants to hit six different Billboard charts at the same time.
With releases as varied as Latin love songs, R&B groovers, an ode
to NASCAR and a tribute to Rev. Billy Graham, that features U2’s
Bono, Boone’s all over the place with his new recordings. Ready
To Rock’s “NASCAR Time” is already playing on
Jumbotrons at races. American Glory is picking up attention
with its patriotic songs. Glory Train: The Lost Sessions has
a slough of contributors backing Boone. We Are Family is a
twist on Frank Sinatra’s Duets concept. He covers Michael Jackson’s
“She’s Out Of My Life” on Hopeless Romantic and
Latin Love is the first release on the new Latin division of Boone’s
Gold label. If that’s not enough, Boone’s also releasing
a disk of Celtic tunes recorded for his summer 2005 tour. For someone
who’s been in the business since 1955, he hasn’t shown one
bit of slowing down. Will Jordan
Fat Lip Theloneliest Punk (Delicious Vinyl). 4
rib-smacks of flava.
Fatlip, former lead MC of the
innovative rap Cali quartet The Pharcyde, finally returns to the mic
after a lengthy hiatus. After he split with The Pharcyde in the mid-1990s
Fatlip struggled to get his solo career jumpstarted, something he flows
about on the track “Writer’s Block” on the new release
as well as discusses in a bonus DVD, documented by filmmaker Spike Jonze.
Theloneliest Punk is a culmination of everything Fatlip has
always spit about, whether it’s unadulterated honesty as when
he details his post-Pharcyde life on “First Heat” or allows
a glimpse into his personal life on “The Story Of Us,” but
it’s also festive and funny like on “Today’s Your
Day ( WhachagoneDu?) and “Joe’s Turkey.” Kudos to
Michael “Mike Floss” Ross, owner of Delicious Vinyl, for
never giving up on one of the most underestimated lyricists of all time.
Will Jordan
Gang Of Four Return The Gift (V2). 3
½ ribs-takes like chicken
It only takes a brief listen
to a handful of bands who are currently making an impact on airwaves
across the world (Franz Ferdinand, Bloc Party, Futureheads) before one
senses something oddly familiar. That’s because they all have
Gang Of Four’s imprint on all of their sounds.
Gang of Four slammed through the late ‘70s and early ‘80s
with “cerebral, angular rock music” chiseling out their
own little niche in the ever-growing pile of uncategorical rock music.
Formed by Jon King (vocals), Andy Gill (guitar), Dave Allen (bass) and
Hugo Burnham (drums), Gang of Four set out to kick down doors of conventional
sounds. The result was a new sound that was “before their time,”
but was hailed by musicians everywhere. The band reformed earlier this
year for a series of UK and US dates and revisited their back catalogue
with Return The Gift. Will Jordan
One Self Children Of Possibility (Ninja Tune). 4
1/2 ribs-so much flava ya gotta sop it up with a biscuit.
DJ Vadim has been on the who’s
who of underground hip hop list for many a moon as an independent instrumentalist,
but decided to link forces with a couple of unique voices on Children
of Possibility. Swedish/Brazilian soulstress Yarah Bravo mixes
her sinewy singings with the relaxed lyricisms of Blu Rum 13 to create
funktifried, kicked-back vibes while holding steady to conscious themes
inherent throughout. The entire releas es early ‘90s pioneers
Native Tongues or Digable Planets with complicated rhythms and time-sensitive
words of 2005. Will Jordan
Three Hallucienda (System Recordings). 4
ribs-spicy-need plenty of napkins
It’s impossible to listen
to NY-bred DJ/producer Three’s first official release without
knodding your head and shaking your ass throughout. Hallucienda
is in Three’s own words, “like a night out.” The compilation
forces the listener into a swirling nostalgia, reminiscent of early
morning parties and late night cruises. Hallucienda includes enhanced
CD access to a second downloadable bonus mix of Limited and Hallucination
Recordings catalogue releases, also mixed by Three. Will Jordan
The Decherd Boys Volume
1 (Moondog). 4 ribs-finger lickin’
good
Despite tribulations and lengthy
hiatuses, The Decherd Boys have regrouped and are dropping sounds like
bombs on listeners anxious for raw, real, unpredictable rocking tunes.
Andrew Janeway’s vocals have tremendous range from melodious,
soulful harmonizing on “Get It” to thunderous belching on
“Free Willy” and “Vidmantis Horkus” to playful
Les Claypoolesque ranting on “Second Inch” and “Chuck
Norris.” Volume I of the Decherd Boys self-titled release slices
through the speakers with the anthemic, catchy track “Get It.”
The hilarious, haunting “Chuck Norris” follows, changing
the mood. The sounds continue to morph throughout the release until
it rains a fiery, tongue-in-cheek, droned-out coda “Hail Satan.”
The Decherd Boys are Russ Cannon on drums, Chris Ross on bass and Janeway
on guitar and vocals. Keep your ears out. They’re even better
live. Will Jordan
Blessing The Hogs The Twelve Gauge Solution (Goodfellow). 2
ribs-too much pork, not mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmenough
meat
Like a shotgun blast to the face,
Blessing the Hogs come out of San Francisco armed to the teeth with
merciless sonic weaponry. Tracks like “Pretard” and “Chemical
Equalizer” hit like balls of lead slamming the eardrums with frenzied
mayhem. Also included are two covers (Quicksand’s “Fazer”
and Melvins’ “Hogleg.” In addition to the music, there
is an enhanced feature for the computer containing the video game Metal
Man, the music video for “Let’s Play Doctor”
and more. Will Jordan
Raging Speedhorn How The Great Have Fallen (SPV). 2
½ ribs-leaves a harsh aftertaste
Belching flames with every screech
Raging Speedhorn are hellbent on destruction with their latest, How
The Great Have Fallen. On their third studio album, Raging Speedhorn
combines elements from both previous releases for more of their familiar
grimy sound.
Sludge through tracks such as “A Different Shade Of Shit,”
“Slay The Coward” and “Don’t Let The Bastards
Grind You Down.” If that’s not enough abuse, UK limited
edition release includes 2 bonus tracks and a bonus DVD with live footage
and the videos for Thumper and FTVM. Will Jordan
Sound Directions The Funky Side Of Life (Stones Throw). 4
ribs-sop that flava up with a mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmtbiscuit
Smooth grooves emanate like theme
music from ‘70s cop shows on Madlib’s latest brainchild,
Sound Directions. For his second full-length album of 2005, the producer
enlisted arranger Todd Simon and session players to help recreate ‘60s
and ‘70s session music. Tunes like the late Saint Louis saxophonist
Oliver Sain and legendary jazzer and soundtrack composer J.J. Johnson
get the breakbeat treatment, while mellow organs and guitar solos lace
the newest version of Billy Brooks’ classic “Forty Days”
tune. Will Jordan
Throwdown Vendetta (Trustkill). 3 ribs-a
little charred
Throwdown spits fiery, hostility-driven,
guttural rock sounds with unforgiving vengeance on their debut, Vendetta.
Hailing from Orange County, CA, Throwdown are anything but stereotypical
Cali boys. A darkness in the shape of a mosh pit begins churning at
opening, “We Will Rise” and doesn’t cease spinning
until the appropriately titled coda, “This Is Where It Ends.”
Will Jordan
Paleo Misery, Missouri (self-released record). 4
ribs-smacks of flava.
Dreamy, listless emotional outpourings
come floating out of the speakers with every track on Misery, Missouri.
Captured with a single palfrey microphone during a two-week stay at
a horse ranch in the Ozarks, Dave Strackany aka Paleo has created a
lo-fi epic with minimal elements so as not to distract from the poetic
verse. Each song drips with cathartic release from opening “Houdini”
to coda “19 Ninety-Two.” More info can be found at Paleo's
site - www.paleo.ws.By Will Jordan
Carly Simon Moonlight Serenade (Columbia)
Carly Simon reunites with longtime
producer Richard Perry on her fourth collection of pre-rock pop and
jazz-tinged material, and it’s mostly well played and nicely sung.
Her renditions of “I’ve Got You Under My Skin,” “Moonglow,”
“In The Still Of the Night” and “The More I See You”
show that Simon has the requisite understanding of dynamics, pacing
and flow, and aren’t overwhelmed or bothered by orchestration
or tempo changes. Lee R. Thornburg adds a supple, charming flueglhorn
solo on “All The Things You Are,” and Tom Evans’ sax
lines provide some instrumental bite and fiber to her rendition of “I
Only Have Eyes For You.” Perhaps the only missing ingredient here
is a bit more fire, some edge in her readings. If anything, Simon recreates
and delivers this material a bit too smoothly and carefully, revealing
she certainly understands the origins and intent of the work, but doesn’t
inject any fresh or distinctive ingredients into her interpretations.
Still, her versions of these standards have more stylistic credibility
than some other rock and pop performers who’ve delved into standards
as an afterthought. By Ron Wynn
Funkservice International Life and Flowers (B & B). 2
½ ribs-served shaken or stirred.
Like a soundtrack to a steamy
James Bond film set in an exotic European setting, Funkservice International’s
Life and Flowers is a mellow, sultry sonic adventure. Composer, arranger,
lyricist and all around mastermind of Funkservice International, Adil
Fadi, explores a wide range of cultural avenues as he navigates through
his virtual world of electronic soundscapes. Kajsa Karlsson’s
sexy lyricisms are hypnotically familiar (think Macy Gray) and tracks
such as “Oh It’s You” “Aquablanca,” and
“Bossa Nouveau” are definite late-night head-bobbers. By
Will Jordan
Artie Shaw The Essential Artie Shaw (Sony/Legacy)
Artie Shaw was a maverick soloist
and bandleader, a fantastic player whose imagination on the instrument
proved far greater than his patience for the restrictions of mass popularity.
Shaw had little interest in creating short, rhythmically simple pieces
that could be plugged into the swing craze, and instead saw himself
as a creative figure who wanted to craft complex works and look toward
future developments. Still, he was such a great player and his band
so skilled at delivering commercial properties that he emerged a star
in spite of his preferences and personality. This two-disc reissue covers
classic Shaw numbers from the late ‘30s and early ‘40s,
among them both small combo and large orchestra pieces such as “Special
Delivery Stomp,” “Scuttlebutt,” “Deep Purple,”
“Blues In The Night” and his most famous work “Begin
The Beguine.” Shaw’s rich, frenetic and increasingly sophisticated
clarinet work stood alongside that of his rival Benny Goodman as perhaps
the finest on his instrument of the era. These are the compositions
and performances that became his signature numbers, and still rank among
the most beloved and requested tunes ever issued during the Swing era.
m t By Ron Wynn
Grand Buffet Five Years of Fireworks (Fighting). 4
ribs-goes down better with Grape Drink. 4
Grand Buffet lift “nerd
rap” to new heights with the release of Five Years of Fireworks.
These Pittsburg, PA-bred fellas make Biz Markie look like a freakin’
rock star on the accompanying DVD as they gyrate on fire escapes, air-guitar
with rakes and pour drinks on other nerds. They do these nonsensicals
while belting out annoyingly, yet at times admittedly catchy rhymes
about “Benjamin Franklin,” “Candy Bars” and
“Things That Go Hump In The Night.” By Will Jordan
Fieldwork Simulated Progress (PI recordings)
Fieldwork isn’t exactly
your prototype jazz trio. The crew includes the exciting pianist Vijay
Iyer, a fiery and often surprising alto/sopranino saxophonist Steve
Lehman and a sterling percussionist Elliot Humberto Kavee. The 11 pieces
featured on Simulated Progress are just as unusual. These are
predominantly unison works, not quite free pieces, but far from the
standard opening melody/solos/conclusion jazz structure. Instead, they’re
flowing numbers, with roles easily switched from lead to accompaniment,
and no single player emerging as the featured instrumentalist for any
extensive stretch. They’re also mostly short works, with “Transgression”
and “Media Studies” being the longest numbers and neither
of those being as long as six minutes. Yet these three still demonstrate
their proficiency through crisp and quick musical responses and interaction
during transition passages and shifting song sections. If you’re
looking for pieces with set time signatures and thick, steady rhythms,
Fieldwork’s tunes won’t be persuasive or appealing. But
anyone that enjoys thoughtful, unpredictable
and keenly played music will find Simulated Progress quite
rewarding. By Ron Wynn
Death By Stereo Death For Life (Epitaph). 2
½ ribs-hope ya like ‘em rare, cause this one’s mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmdripping.
Like a shot to the stomach, Death
By Stereo’s latest, Death For Life, leaves listeners
buckled over in their wake. Vocalist Efrem Schulz belches indiscernible
lyrics over rich harmonies to the rapid-fire guitar riffs, thunderous
bass and pummeling drums, emitted by this slamming five piece. While
most are in the same furious vein of brutality eminent on “Binge/Purge”
“Entombed We Collide” and “Middle Fingers,”
the boys prove to have ballad making skills as well as depicted on “Forever
And A Day” and “Don’t Piss On My Neck And Tell Me
It’s Raining.” By Will Jordan
The Afro-Latin Jazz Orchestra with Arturo O’Farrill Noche
Inolvidable (An Unforgettable Night) (Jazz At Lincoln Center)
The Afro-Latin Jazz Orchestra
balances its program between surging, animated works designed to please
dancers and more intricate, fiercely played tunes that test the limits
and talents of its members on this new release that was cut live last
January at the Rose Theater. While the longer selections such as “Ensename
Tu & Piensalo Bien,” “Corazon Rebelde” and “Buscando
La Melodia” provide ample space and room for an array of sublime
soloists, the shorter pieces put the spotlight on vocalists Herman Olivera
and Claudia Acuna, who prove striking and delightful singers on pieces
like “Somos Novios” and “Mi Amor Fugaz.” Arturo
O’Farrill’s arrangements sometimes drive and bolster the
vocalists, and other times augment spiraling trumpeters, trombonists
and saxophonists with layers of rhythm, or throbbing bass lines that
in turn are contrasted with tight drumming from Vince Cherico. Though
not quite as ambitious or edgy as anticipated, the Afro-Latin Jazz Orchestra’s
newest effort does have plenty of satisfactory outings that do reaffirm
O’Farrill’s credentials as a first-rate conductor and arranger.
By Ron Wynn
AWOL One & Daddy Kev Killafornia (Alpha Pup). 3
ribs-mystery meat.
AWOL One and Daddy Kev stay entrenched
in the LA underground on Killafornia, the duo’s five
song EP of obscure West Coast rhymes. Opening track “The Unwanted”
introduces the release with shout outs to other like-minded mic holder’s
Sage Francis and Atmosphere and the rest follows in the same vein. By
Will Jordan
Zucchero Zucchero & Co. (Concord/Hear Music)
Adelmo Fornaciari AKA Zucchero
has been a star in European circles since the mid-‘80s, and has
formed plenty of friendships within the American music community. Many
of them join him for a duet work that dips into everything from opera
and pop to soul, blues, world music and light jazz. “Lay Down,”
a collaboration with John Lee Hooker, is both rambling and charming,
and the same holds true for Zucchero performances with B.B. King on
“Hey Man – Sing a Song, “ Eric Clapton on “Wonderful
World” (awfully close to MOR) and “Diavolo in Me”
with Rev. Solomon Burke. Miles Davis was clearly nearing the end of
the road on “Dune Mosse,” as his playing sounds detached
and unconvincing. The last track “Miserere” matches Zucchero
with Luciano Pavarotti & Andrea Bocelli, and both vocalists are
so immense and transcendent that they nearly obliterate Zucchero’s
presence. Indeed, the musical unions that work on this disc do so more
because the other party (Sheryl Crow, Sting, Hooker, King) finds a way
to maintain their approach without overly disrupting Zucchero’s.
Despite several occasions where things seem more desultory than convincing,
the CD does also offer a decent introduction to the style and sound
of Zucchero. By Ron Wynn
Skopic (Lunatic Works). 3 ½ ribs-straight
funktafried.
The jazz-nasty flavors of Skopic
aka Boston-based Max Braverman drip through headphones like a soundtrack
to a post apocalyptic thriller. Skopic created the sounds cloistered
in his dorm bedroom, but his production skills rival any. While moody
undertones sound throughout, Skopic’s funky beats combined with
obscure sampling and rapid scratching, reveal this debut as a smart
and catchy blend of beats and well thought out orchestration. By
Will Jordan
Captain Bringdown and the Buzzkillers Feel Good Tunes (Sock
Hop). 2 ribs-a little overdone.
With elbow-flying, boot-stomping,
thunderous fury, Captain Bringdown and the Buzzkillers have created
six “feel good” moshable tunes on their latest. Anthemic
tunes “For The Kids” and “Blistered Up” keep
the punk-ska tradition alive in the same vein as similar-sounding Suicide
Machines and Less Than Jake. Though they share some of the same traits
as the aforementioned ska outfits, they lack commercial appeal and originality.
By Will Jordan
Dave
Brubeck London Flat: London Sharp (Telarc).
Venerable pianist Dave Brubeck
doesn’t do as much experimenting with time signatures or insert
as many classical devices into his solos today as he did when rocketing
to fame in the O50s as arguably the world’s most popular jazz
figure. But he does dip into that arena once more on the cut ”Time
Changes”, perhaps the finest musical piece from his latest release,
which despite the name is a studio project cut in New York. It features
Brubeck and alto saxophonist Bobby Militello making tempo shifts and
adjustment on the fly, never stretching or distorting the main melody
so much it can’t be recognized, yet still altering the song’s
mood and flow through their interaction. Brubeck’s also always
had a fondness for stride, which he displays on “Mr. Fats”,
a tribute to the great Fats Waller that also contains some delightful
work by Brubeck in the choruses. His current quartet includes a master
bassist in Michael Moore, whose long, angular lines, counterpoint and
overall technical mastery on all 10 tunes is impressive. Drummer Randy
Jones adds the final ingredient, a steady, dependable percussionist,
and capable rhythmic controller. While a fair number of these pieces
are short and more unison/group statements than individual workout pieces,
the quartet demonstrates on “The Time Of Our Madness”, “Unisphere”
and “Yes, We All Have Our Cross to Bear” that every member
can stretch out and deliver a compelling solo as well as ably converge
and perform strong collective stretches. London Flat: London Sharp
presents a Brubeck band that’s still a fine unit, though not quite
the international stars they once were. By Ron Wynn
Danny Cohen We’re All Gonna Die (Anti).
3 ½ ribs-Caution-this one may oink
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
when you bite into
it.
If you crossed a whiskey-soaked
Shane McGowen with a climbing-the-walls Syd Barrett and a guttural-growling
Tom Waits, you’d come close to identifying the rare genius that
is Danny Cohen. To venture through Cohen’s world of thought is
like stepping through the red, velvet curtains of a Twin Peaks episode.
With eerie, elaborately detailed off-key storytelling, We’re
All Gonna Die, is shuddering with sarcasm from his ominous mooing
on “Cows” to the mockingly macabre “Tongue-tied in
Quicksand.” No one may take his ranting seriously, but one can’t
ignore the heaviness that echoes in Cohen’s warning that indeed
one day, We’re All Gonna Die. By Will Jordan
The
Clayton-Hamilton Jazz Orchestra Live At MCG (MCG).
It’s a real pleasure to
hear a large band like the Clayton-Hamilton Jazz Orchestra that is neither
a repertory unit nor a “ghost” crew, but instead a working
aggregation performing both originals and jazz standards. Bassist/conductor
John Clayton has several swing era veterans on board, among them trumpeter
Eugene “Snooky” Young, trombonist George Bohannon, and of
course his co-leader, the dynamic drummer Jeff Hamilton. This live date
recorded to benefit Pittsburgh¹s Manchester Craftsman¹s Guild,
provided an ideal outlet for the Orchestra to demonstrate its versatility.
They covered both familiar big band numbers like Duke Ellington¹s
“Mood Indigo” and Hoagy Carmichael’s “Georgia”,
which features former Nashville sax star Rickey Woodward on tenor, and
more obscure pieces like Johnny Hodges’ ”Squatty Roo”,
which again spotlights Woodard as well as Bohannon, pianist Tamir Hendelman,
and trumpeter Gilbert Castellanos and Clay Jenkins. However the Clayton-Hamilton
bunch is just at home with bop pieces, turning Thelonious Monk’s
“Evidence” into a trumpet summit meeting, matching the slashing
techniques of Castellanos, Jenkins, Bijon Watson and Sal Cracchiolo
with the sophisticated contrasts of guitarist Randy Napoleon, and then
doing the same thing with saxophones on Sonny Stitt’s “Eternal
Triangle”. The song voicings and instrumental configurations are
constantly surprising as well, with conductor Clayton sometimes preferring
to have only one or two soloists, and other times essentially convening
various sections for good-natured musical combat. There aren¹t
many huge groups touring and performing in the 21st century, but the
Clayton-Hamilton Jazz Orchestra’s brilliance and ferocity offer
a grand reminder of the days when big bands ruled the musical world.
By Ron Wynn
Ying Yang Twins U.nited S.tates of A.tlanta (TVT).
3 ribs sticky-icky-need some Crunk juice
mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm
to wash these tracks
down.
Those ATL-crunktified Ying Yang
Twins return to the game donning suits and top hats with some new sounds
and heavy hitters in tow. The twins enlisted soulful crooner Anthony
Hamilton on laid back “Long Time” and pop chart conquistador
Maroon 5’s Adam Levine on the hook for the dance-your-ass-off,
“Live Again.” Other guest appearances include: Busta Rhymes,
Missy Elliot and Mike Jones. Trying to shed the Crunk stigma, the Twins
delve into new realms on U.S.A., dealing with unchartered themes
such as war, politics and spirituality. Ying Yang once again comes out
swinging with U.S.A. and plans once again reach platinum status.
By Will Jordan
Vijay
Iyer Reimagining (Savoy Jazz).
Pianist and composer Vijay Iyer
has excited many jazz critics and fans alike with both his edgy writing
and his distinctive playing. Neither a disciple of the modal school,
a subdued or laid-back stylist, nor a particularly demonstrative or
blues-tinged soloist, instead Iyer integrates bits and pieces of all
these approaches and more in the impressive work that’s presented
on his current release Reimaging. Although it seems a conventional
quartet date, Iyer doesn¹t merely establish the main melody, then
settle back and accompany the saxophonist. On such songs as ”Revolutions”,
“Song for Midwood”, “Infogee¹s Cakewalk”
or “Phalanx”, the group alternates roles within pieces,
with Iyer sometimes aggressive and other times softer, frequently interacting
with bassist Stephan Crump and drummer Marcus Gilmore behind alto saxophonist
Rudresh Mahanthappa, whose spry lines, bright tone and alternately fiery
and light style reveals a debt to Cannonball Adderly and David Sanborn,
though he also possesses his own sound. Sometimes the quartet seem like
four joint voices, then just as quickly Iyer will take the rhythm section
on its own journey, while Mahanthappa establishes a parallel direction,
only to have all four members eventually work themselves back to a set
melodic structure. Both inside and outside, avant-garde and pop-influenced,
Vijay Iyer¹s work on Reimagining only reaffirms his growing
reputation as an emerging star among jazz players. By
Ron Wynn
Onaje
Allen Gumbs Remember Their Innocence (Ejano).
Keyboardist Onaje Allen Gumbs
has moved from one end of the jazz spectrum to the other, going from
more edgy and experimental fare early in his career to his current release
that¹s sometimes serene and sometimes intense, but for the most
part won¹t frighten or alienate listeners who veer away from less
structured music. Gumbs remains a wonderful player, with a supple, fleeing
style that¹s distinguished by a flair for crafting and executing
engaging melodies and light, graceful patterns. When working with alto
saxophonists Roger Byam or Sadao Watanabe, Gumbs embellishes their lines
in places, complements or intersects them in other sections, and always
ultimately adds some luster to the overall piece. He teams with varying
instrumentalists on these numbers, with he and Byam teaming for poignant
opening and closing performances on the disc, and Gumbs also offering
on the tune “Playtime” one of the CD’s strongest tunes.
Dennis Collins brings some vocal ardor to the number “Your Love”,
wile Branice McKenzie’s leads lighten “Maybe Next Year”
and the spoken word verbal forays of Sharrif Simmons buttress Gumbs
piano and Byam’s soprano saxophone work on “All I Hear”.
This isn¹t hard bop or soul jazz or funk, but more introspective
and soothing music designed to show listeners jazz’s less frenzied
side. By Ron Wynn
Dropkick Murphys The Warriors Code (Hellcat). 4
ribs--dripping with a Bushmills marinade.
Like a beer bottle shattered
on someone’s skull in an Irish bar brawl, Dropkick Murphys once
again kick out the jams with their latest, The Warriors Code.
A mixture of Celtic folk, classic punk and American rock, the Murphys
are true contenders in the world of angst-riddled Ireland-bred rock,
complete with bagpipes, accordions and whistles. Like any good Ireland-inspired
collection of songs, The Warriors Code begs listeners to learn the words
and sing along in unison, whether it be upbeat stomper tracks like “Sunshine
Highway,” classic odes like title track, “The Warriors Code”
which is dedicated to Massachusetts boxing legend Micky Ward. By
Will Jordan
Xiu Xiu La Forêt (5RC). 2
½ ribs--forget about napkins, ya need tissues for this one.
Though an admirable attempt,
La Forêt is Jamie Stewart’s emotionally unstable cathartic
outpourings and sometimes it sounds as though he needs an anti-depressant
rather than a microphone. Reminiscent of indiscernible Cure at times,
inflated Morrissey whininess at others and even a balmy funeral march,
La Forêt is encircled by an impenetrable darkness that
needs illuminating. Stewart talent is not in question, he does everything
on this album, but he could use a little uplifting. By Will Jordan
Zox The Wait (Armo). 3
½ ribs--hard to sit still while chomping on this one.
When Zox begin their onslaught
on live audiences, not a body remains standing still, and with their
latest release, The Wait, they continue that tradition. The
quartet, which includes a reckless vocalist/violinist (Spencer Swain),
out of control at times (he’s even broken his arm because of his
rambunchious performances). Zox’s songs are full of energy and
good feelings, though they do address some hard issues. Songs like quirky,
“A Little More Time,” upbeat, foot stomping, “Can’t
Look Down,” and even the sadder more balladesque “Everything
but Fine,” is more pretty than tear-jerking. By Will Jordan
M.E.D. Push Comes To Shove (Stones Throw). 3
½ ribs-folks fightin’ for a taste.
It’s been a long time comin’
for Medaphoar aka M.E.D. to drop a solo debut. The Cali-bred vocalist
made his bones on other like-minded Stones Throw artist’s (Madlib,
Madvillian, Lootpack and Quasimoto) projects for years and hits hardest
on his own. He uses his connects on Push Comes To Shove, recruiting
J. Dilla, Dudley Perkins, Noelle and even Diamond D for some heavy-hittin’,
tongue twistin’ on this kicked back, yet prolific release. Nearly
all tracks were produced by Madlib and the beats keep heads bobbing
from intro to coda. By Will Jordan
The Low Budgets Aim Low, Get High (Schuylkill Records). 3
½ ribs.
Bent on destruction of western
civilization, The Low Budgets come crashing out of Philadelphia with
silver-tongued, quirky, garage rock. Landing somewhere between The Dead
Milkmen and Devo The Low Budgets’ tracks are cartoonish, blue
collared youthful anthems, filled with songs about stupid dead cats,
lawsuits and thrift stores. “Oh Yeah,” is the obvious single
and rings like a true hit. By Will Jordan
Je suis un etranger (Ronda). 3 ribs too much
talking not enough bite.
Beware the voices in your head
after listening to Ronda Record’s latest compilation Je suis
un etranger. For this project, the Paris-based label invited its
artists to work on a concept—“a compilation based on the
speaking language.” On this electronic mixture of beats and noise,
each artist chose a language and a piece of music and compiled their
own sonic essay. The result is a diverse selection of language and music
stylings from around the world from Poland to China, Sweden, Portugal,
France and many more. By Will Jordan
Calm
Chaos Melody of Mokus (B&B). 2 ½
ribs been under the lamp a little long.m
Damn! Who knew Swedish-bred fellas
could rock this freakin’ hard. With an edgy raw sound reminiscent
of Rage Against the Machine or Incubus, Calm Chaos is wreaking havoc
across Sweden with their powerful yet catchy jams. Songs like “Heroin[e],”
“Raped Romance,” and “Ghost Killer” will keep
these Skellefteans in constant rotation on Swedish radio, but their
sound may not be original enough to break into mainstream America (not
that they need the US to conquer the rest of the world.) By Will
Jordan
Paris Zax Unpath’d Waters (Alpha Pup). 3
½ ribs needs a little more sauce.
Paris Zax, the man behind the
music of underground hip hop acts, Busdriver and Shape Shifters, comes
out with his own collage of “hip hop, jazz, blues and psychedelic
rock,” on Unpath’d Waters. The compilation runs
like a soundtrack to the Miracle Mile section of Los Angeles’
underground, with samples of quotes, waves and various rhythms mixed
well together. Ozomatli guitarist Will dog appears on the record, as
well as jazz legends Snooky Young and Bob Elford. By Will Jordan
Far
Rad This Candy’s Gross (Circle Machine/Johann’s
Face). 2 ribs a little skimpy on the meat. mm
Toss together head nodding beats
and erratic electronic sounds, under high-pitched, hyper vocals, and
it becomes obvious Far Rad is out there on their own. The Chicago duo
comprised of Michael Perkins and Ken Zawacki is nothing short of original.
This Candy’s Gross sounds more like a soundtrack to a
video game than an electronic orchestration, but it’s not without
distinction. Far Rad’s keyboard core evokes an 80s pop nostalgia—“Tulu
is a Wimp,” “Hard Boiled” but also glimpses into the
future—“Cellar,” “Casino!!!” By Will
Jordan
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