ballads

Love Will Find a Way

beth — Wed, 02 Mar 2011 20:00:00 +0000

Lola Bleu, aka twenty-two-year-old R&B singer Janell McCracken, has a fine voice, so it’s a shame she doesn’t have better material to showcase it on her debut album, Love Will Find a Way. While some of the songs have catchy melodies, excessive instrumentation detracts from and sometimes obscures Bleu’s voice. A more restrained approach would have conveyed pathos on the soul-searching numbers but often emotion is lost in a wall of sound.

A phone call between two friends, in which one complains about feeling unsatisfied in her relationship, sets up the story. The other tracks cover various stages of a romantic relationship: fantasizing about a seemingly unreachable man (“Hate to Wake Up”), being stuck in a dysfunctional relationship (“Deep Pain”), breaking up in an empowering way (“So Over You”), and finding love again (“I Found You”).

Despite the production flaws, Bleu shows promise on both fast-paced dance tracks and reflective slow songs. “Get Away” is a standout; the doubled vocals and dance beat will have you tapping your toes and moving your shoulders, and it is less crowded instrumentally. The hand-clapping rhythm of “So Over You” will also stick in your head. Bleu’s solid delivery of two more heartfelt songs that hint that her talents may be best suited for ballads. Piano and strings distinguish “Where Do We Go from Here,” a mature, recrimination-free look at a stalled romantic relationship. “Don’t get me wrong, I love being around you… but it seems our flame has suddenly disappeared,” she sings. The introspective lyrics of “A Little Hope,” which is anchored by piano and electric guitar, also ring true.

Bleu’s persona and vocals are reminiscent of Rihanna and one hopes she will find material worthy of her musical gifts. She is a promising singer and deserves to have the spotlight shine on her talent.

Written by: Karen Duda, March 2nd 2011

Roman Candle

admin — Tue, 06 Jul 2010 00:00:00 +0000

By Elliott Smith

Kill Rock Stars

Some might think this is another round of Elliott Smith’s posthumous work but it’s actually his first album. Kill Rock Stars has re-released and remastered Roman Candle, which was originally released in 1994 on the Cavity Search label. It’s self-recorded and Smith played all the instruments. The album is short, only thirty minutes, but in these eight songs you can see how Smith’s great career started. Smith’s soft melancholy tone is present in the lyrics as one would expect, and the fact that it is a completely self made album doesn’t take away from the quiet fury of his music. The album doesn’t sound like a first album, but rather like a bold, bar-setting collection of fine folk songs.

Contrary to its name, the album doesn’t offer nine individual explosions of balls-of-fire-songs. Each one has spark, but the album as a whole has more of a combined, melded flow. The title track is the most upbeat and maintains its quick layered guitar rhythm throughout its three minutes and thirty-seven seconds. It’s by far the most ball-of-fire of all the songs but creates a nice opening to the album. The rest of the disc follows the classic Smith alternative folk style of beautifully harmonized vocals laid over ear soothing guitar-driven melodies.

Some tracks are delicate ballads like “No Name #3,” a dark lullaby with words like “Watched the dying day blushing in the sky/ Everyone is uptight, so come on night/ Everyone is gone, home to oblivion.” But the fragility melts away in the penultimate and longest track “Last Call” where Smith turns up the amp and adds some grit to his guitars as he sings: “You’re a tongue less talker, you don’t care what you say/ You’re a jaywalker, and you just, just walk away/ that’s all you do.”

This first album is particularly special because it marks the beginning of Smith’s incredible, and unfortunately, short career. Lucky for us, he made five more after Roman Candle, each marking Smith’s evolution as an artist. Roman Candle holds its own in the Smith canon as a first testament to his talent, and his will and need to express himself with music.

Written by: Sara Custer, July 5th 2010

Red River

admin — Mon, 21 Dec 2009 01:00:00 +0000

By Sonya Cotton

San Francisco artist Sonya Cotton’s latest release, Red River, is a fantastic album for a quiet day. I imagine one of those long, tired days when you just don’t want to get out of bed—Sunday maybe, the rain drumming upon the window, your tea wafting gentile tendrils of lavender chamomile, and you want something to wrap you in comfort. Beginning softly with “Wild Wind” and winding through one’s headspace to the delicately sparse “Cold and Dreamless,” a relaxed tenderness carries you throughout the entire album as you find yourself feeling at home in Cotton’s songs.

Cotton’s voice is delicate yet she unleashes an amazing power in her unassuming vocals that will surprise listeners. A highlight of this release is the sweet ballad “Red River” with its declaration of survival and faith. She sings, “though the clouds are coming in, this body is stirring, our vessel is waiting, don’t be afraid, there is glory ahead,“ and you cannot help but feel safe. The entire song is a reassurance that allows one to lay weight to the hands of fate instead of trying to grasp control. Like the river Cotton sings of, one moves freely in subtle contemplation while listening to this song.

While not all the songs have lyrics that would be appropriate, you might choose certain selections from this album to create a lullaby album for your favorite little munchkin. “Cold and Dreamless” and “Song for Tony” are both sweet rhythms that could be played gently to lull the tender young-uns to sleep and dreams. The tender guitar plucking in “Song for Tony” is a nice accompaniment to the loving lyrics that seem to speak of a deep affection. This album is a portrait of gorgeous moments captured and cherished by Cotton—moments honored by the pedestal of her haunting voice and an obvious dedication to her craft.

Written by: Djuna A. Davidson, December 20th 2009

From the Heart

admin — Wed, 20 May 2009 17:36:00 +0000

By Babyface

Sony

There are several good songs on From the Heart, but by the end of the album, I was sick of the slow, languorous ballads that Babyface does so well. There’s nothing wrong with most of the songs; they’re just bland, and the delivery becomes monotonous after sixteen tracks. Such is the peril of putting together a compilation of a particular type of song: we lose the variety that makes an album great.

That said, Babyface’s smooth, soulful delivery helps lift mediocre material to the next level, and From the Heart has several standout tracks. “Lady, Lady,” with its undeniable catchy refrain, is among my favorites. Retaining the soft sound Babyface is known for, there’s more emotion and a faster pace in his vocal delivery. A syncopated drum track is also added to get your feet tapping.

“For the Cool in You” is another funky track, with a more prominent rhythm section and polished but slightly sped-up vocals. The saxophone also gives a bit of flavor. The song is original lyrically: Babyface praises his lover for being even-keeled and not giving up easily in the face of difficulties. “This Is For the Lover in You,” a duet with LL Cool J, has a more hip-hop vibe than the rest of the album. LL Cool J raps between Babyface’s sung verses, and Jody Watley provides supporting vocals. Other stars lending a hand are Mariah Carey and Kenny G, who make an appearance on “Every Time I Close My Eyes.”

It’s easy to see why “When Can I See You” was a top-ten hit; the acoustic guitar-dominated, plaintive tune is so different from the rest of Babyface’s oeuvre. The poetic and simple lyrics (“When can my Sunday begin? When can my heart beat again?”) are memorable. “Whip Appeal,” another hit, is an appealing tune on which Babyface lets loose vocally.

While technically the slow ballads are well-done, too often the music and sentiment are tepid, and the lyrics trite. On “I Said I Love You” Babyface croons, “I promise you I will be true,” and on “A Bit Old Fashioned” he proclaims, “I believe a woman is the most precious thing on earth.” My personal animus was “Lovers,” which opens with the precoital dialogue of a man and a woman about to have sex for the first time, which I found disconcerting and condescending. The music itself has little personality, and the patronizing lyrics about how the man will be gentle made me want to gag.

My main complaint is that the material is too polished. Keeping a few of the rough edges would have added diversity and interest to his romantic work. There are enough good songs—and several great ones—to make the album a worthwhile overview of Babyface's love songs.

Written by: Karen Duda, May 20th 2009

Someone Else's Deja Vu

admin — Tue, 22 Jul 2008 11:13:00 +0000

By Son, Ambulance

Saddle Creek

What would it be like to do a double-take at the memory of another? How would this be communicated? The simple dot-with-a-tail in this band’s name changes it from a death van for male offspring to a juxtaposition of a human and vehicle - or a parent, hand on shoulder, naming the thing with the siren as it passes. That’s exactly the sort of pondering that this music inspires, an album that Son, Ambulance’s own site bills as music for irresponsible, cat-petting, days.

Someone Else's Deja Vu is pretty and makes me feel better. At that’s a good thing because - in addition to a global e-mail advertising a found kitten to pet on irresponsible days, free to good home (tiny, feisty, hilarious, Rorschach-splotched in black and white) - I received another e-mail from a good friend pointing out a t-shirt for sale on Amazon.com with the slogan “Anti-Abortion, but Pro-Date Rape.” This immediately harshed my bliss, and I forwarded it with the question, “Would they sell a t-shirt emblazoned with 'Anti-Birth Control/but Pro-Castration'?”

In such a world, it is good to have people making nice music. I never listened to Pink Floyd, and their other possible influences are beyond my ken… Cream? The Moody Blues? I do not know, but still like Son, Ambulance. If they were a boat, it would be a junk with decorated sails displaying optical illusions printed in cyan, yellow, and puce. Or a galley where the rowers wear fake-fur cuffs and are served whimsical fruity drinks with paper umbrellas. Or a folded paper boat from an article about the green polyester pants of C-list celebrities that we’ll never have to read about again racing down a rainy day gutter filled with a purple-tinged torrent. They’re playing at Schuba’s in Chicago on July 15. I believe that I’ll float on by.

Written by: Erika Mikkalo, July 22nd 2008

Keep Singing! A Benefit Compilation For Compassion Over Killing

admin — Sun, 13 Apr 2008 13:50:00 +0000

By Various Artists

Exotic Fever Records

Beautiful art graces the cover of this album, entrancing me as I hear Gina Young introduce both the tone and ethics of the compilation. I quickly feel enveloped by the politics and clarity of these artists. I make a game of picking up on notable lyrics, such as quoting Gandhi with “you must be the change/ you wish to see in the world” and showing feminism in “eat what you like/ especially if you are a girl.” Speaking of girls, although there are some female artists on this compilation, I would prefer to hear more women rocking out on the album.

Ranging from warm acoustic ballads to intense punk rock chops, each musician sings intelligent lyrics from the heart. It’s wonderful to hear songs with substance! There is no mistaking the messages of compassion and animal rights in this album. Keep Singing! offers a breath of fresh air to thinking people sadly wandering amidst vapid pop star-worship and destruction of the planet’s resources.

Flipping through the CD booklet, I notice vegetarian recipes submitted by the artists betwixt attractive pictures of vegetables and advertisements for small, ethical companies. A vegetarian cookbook is included on the disc as a downloadable PDF file. I’m pleasantly surprised by the creativity and thoughtfulness of this project.

Written by: Jacquie Piasta, April 13th 2008