blues

Small Source of Comfort

mandy — Sat, 26 Mar 2011 20:00:00 +0000

Full disclosure: Bruce Cockburn (COE-burn) is Canadian; I’m Canadian. There aren’t that many of us. We’re the world’s second largest country, with a population smaller than California. So we back our homeys when they’re world-class: Angela Hewitt, Frederick Banting, Sandra Oh, Denys Arcand, Jim Carrey, Diana Krall, Leonard Cohen, Karen Kain, Tom Thomson, David Suzuki, Cirque du Soleil.

Which returns us to Bruce. The world-class part, that is. He’s a musician’s musician with an extraordinary scope as a lyricist, guitar player, and singer. He can do jazzy gutbucket ("Mama Just Wants to Barrelhouse All Night Long"), a beautiful country hymn ("One Day I Walk"), a great road song ("Silver Wheels"), an anti-war descant equal to Dylan ("If I Had A Rocket Launcher"), a funny blues ("The Blues Got The World By The Balls"), a credible cover of a classic blues ("Soul of a Man"), a rocker ("Lovers In A Dangerous Time") and several other genres. He is one of the planet’s best finger-pickers, which is why he has swapped licks with guitaristas such as Ali Farka Touré. The years have been good to his voice. His lower register has deepened but he hasn’t lost much at the top.

Small Source of Comfort is the singer’s thirty-first album (!) since he began in Ottawa forty-some years ago. A generous album of twelve songs and a coda it is, too. “Called Me Back” is a wry, LOL tune that imagines why someone wouldn’t return your call, for example, “Maybe his mother ran afoul of the law” or “He coulda slid into a society scene.” The instrumental “Bohemian 3-Step” is way uptempo and alternates between complex descending chords and the quick, complicated finger-picking at which he is so adept. He shows off his musicianship in four other instrumentals on this CD that run from jazz-rock fusion, “The Comets of Kandahar,” (with superb violin help from Jenny Scheinman); to the Debussyesque “Parnassus and Fog”; to the spare, what-you-might-call-new-age “Ancestors.”

His lyrics are as original as his guitar work. “Each One Lost” is part threnody with undertones of a Scottish ballad. Bruce spent a week in Afghanistan and was present when a plane brought in the bodies of two Canadian soldiers. The song is also a celebration of the freedom for which the men fought and died; its theme, as the title indicates, is reminiscent of John Donne’s famous passage from Devotions Upon Emergent Occasions, which contains the phrase “for whom the bell tolls.” It’s destined to be classic Cockburn.

“Call Me Rose” is an instant classic as well. The song begins, “My name was Richard Nixon only now I am a girl/You wouldn't know it but I used to be the king of the world.” Yes, the singer imagines Richard Nixon reincarnated as a young woman—with two kids living in the projects, working out his penance, learning what it means to be poor and powerless, but also learning how to endure. These two songs are alone worth the price of admission, and you get eleven more to boot, all of them very fine.

So there you have it. One Canadian shilling for a fellow Canuck? Or one Canadian telling the truth about his brother’s tunes? Bruce is a member of the Order of Canada, one of the country’s two highest civilian awards for merit. That’s a clue. So Canuck, Aussie, Kiwi, Yank, or Brit, you should buy this CD if you love the best. I swear by the beaver and the maple leaf you’ll be glad you blew the fifteen bucks.

Written by: Neil Flowers, March 26th 2011

Hawk

payal — Sat, 26 Feb 2011 08:00:00 +0000

By Mark Lanegan, Isobel Campbell

Vanguard Records

Mark Lanegan—hey, I know that name.
You sure do. Mark Lanegan fronted Screaming Trees, one of the better bands to come out of the early '90s Seattle grunge scene. They never gained the attention or commercial success of Pearl Jam, Soundgarden, or Nirvana, and their minor success was propelled mostly by “Nearly Lost You,” a track from the soundtrack for how-very-zeitgeisty film Singles. After grunge was discarded in favor of nu-metal, gangsta rap, boy bands, and factory pop, Mark Lanegan didn't remain with his old band churning out increasingly bad records or touring on nostalgia value. He joined Queens of the Stone Age, made music with Greg Dulli (of the Afghan Whigs) as the Twilight Singers and the Gutter Twins, and has released well-received solo records.

Isobel Campbell—that sounds pretty familiar, too.
Well, it should. Isobel Campbell was a member of indie darlings Belle and Sebastian from their inception in 1996 until her departure in 2002, as cellist, keyboardist, and backing vocals. She released two records under the name The Gentle Waves and has collaborated with Mark Lanegan for three albums, which is considered her breakout.

It's an odd pairing—the twee Scottish lass and the aging, rough-singing American troubadour, sounding here for all the world like a low-living Leonard Cohen. Campbell, who is credited with most of the songwriting and all of the producing and arranging, mostly sings backup or harmonizes with Lanegan throughout the record. She has a fine, serviceable, and lovely voice whose femininity works well with Lanegan's bluesy-grungy growl. Most of the record is a quiet hum, including a nice cover of Townes Van Zandt's “No Place To Fall,” but a New Orleans-style jazz/blues number (“Get Behind Me”) placed directly at track six cuts through the lull with all the subtlety of a brass band at an Ash Wednesday service.

Hawk is slightly uneven, but I don't find that to be a fault. It's a little piece of obscure southern-style Americana, with its jazz/blues/alt-country/gospel influences, and Isobel Campbell's voice is mellifluous enough to pass for any number of American female pop-rock singers pre-1980. I was fond of this record and it grew better and better with repeated spins.

Written by: Natalie Ballard, February 26th 2011

Hunting My Dress

farhana — Mon, 21 Feb 2011 08:00:00 +0000

By Jesca Hoop

Vanguard Records

Attention wiccans and hippies—Jesca Hoop’s Hunting My Dress (with Bonus EP) is your new theme music. Ethereal and bluesy, this nine-track album and folksy five song EP are a call to light incense, join a drum circle and bake your own bread.

Hunting My Dress is Hoop’s second full-length album. Her musical career commenced in 2003 when Tom Waits (she had worked as a nanny for his children) endorsed her work. This high-profile support led to an EP Silverscreen Demos in 2004 and later the 2007 critically-acclaimed album Kismet. Another EP, Kismet Acoustic followed in 2008.

From the pagan-sounding chorus of “Whispering Light” to the hushed madrigal vibe of the title track on Hunting My Dress, Hoop shows an interest in the album as a cohesive art form. Instead of staying in the realm of random plays on an iPod, Hoop’s songs speak to each other with a surreal lyricism, creating an otherworldly narrative of medieval kingdoms, long-distance lovers, childhood trees, and old-school stereos.

There’s more mysticism in Hoop’s lyrics than an Anne Rice novel: “Under the spell of full November moon/ light on the broom/ frost in my room/ in through a window came a ghost I knew.”

Musical influences abound in her work—many of the songs on Hunting My Dress are reminiscent of other artists. “Angel Mom” recalls the vocals of Kate Bush—plaintive and mournful. Hoop’s matter-of-fact guitar and vocals on “Bed Across the Sea” evoke Ani DiFranco. Lusty and percussion-driven, “Four Dreams” recollects Jane’s Addiction's Ritual de lo Habitual. Yet these diverse influences create an indefinite persona—if Hoop can be all of these artists, then who is she outside of them? Another example of this artistic ambiguity is the brogue that appears in a few songs. Hoop is an American living in England—so (like Madonna before her) she has clearly picked up an accent.

Is she British or not British? Is she Kate Bush or Jane’s Addiction? It’s not that Hoop can’t be both or all of the above. But at some point, an artist has to move away from her influences to determine her identity. Hoop tries on different musical styles in Hunting My Dress and they all fit perfectly. However, her creative forces—the lyrical narratives, mysticism and expansive sense of musical experimentation—will be obscured if she continues to only echo other artists.

An untitled Bonus EP is included with Hunting My Dress. Three Kismet songs, a B-side from the UK version of Hunting My Dress, and collaboration with Blake Mills makes up the compilation.

First-time listeners experience a less mystic Hoop on this EP, and fans who know her music can re-visit the directness of her earlier pop-folk style. The roots of Hoop’s experimentation can be heard in “Enemy,” an indie-ballad in the key of Liz Phair, but the EP revels in guitar and vocals. Stand-outs are the buoyant love song “My Boo” and the alternative rock duet “Wintersong.”

Hunting My Dress and the Bonus EP show different sides of Jesca Hoop. Folk singer and pagan chorus, she is unafraid of exploring musical styles. As Hoop develops as an artist, it will be fascinating to see which style becomes her own.

Written by: Andrea Dulanto, February 21st 2011

Dancing on the Moon

admin — Thu, 26 Aug 2010 16:00:00 +0000

By Lisa Bell

Lisa Bell delivers the goods on her third album, mixing blues, jazz, pop, and roots into a bright, sparkling mix. Her voice can be both polished and loose, and shimmering washes of percussion, chimes, and layered instrumentation provide a worthy backdrop to her lyrics.

“Change Is Free,” the story of an unemployed woman facing daunting economic prospects, is the disc’s standout track, with a funky vibe, heavy beat, and touches of organ. Rather than embracing despair, she opts for change. “I can wait for the shining knight to save the day / I can pray that an angel comes my way... but change is up to me.” An accordion gives “After All” a mellow, European feel. It’s a song of struggle and redemption, accepting responsibility for past mistakes but moving on. Bell’s vocal perfectly suits the languorous tone of the hip-swaying bossa nova beat on “Misty Roses,” another highlight.

Bell gets loose with “Stand Up,” a quirky, danceable tune with prominent drums, organ, and electric guitar creating blasts of sound, and there is a comic element to “How Long,” in which a woman deals with insomnia and delayed flights while waiting to be reunited with her lover. Bell’s voice is full of yearning on “The Last Time,” in which an old love is renounced, with piano adding depth to this ballad.

The varied material on the disc provides plenty of opportunities for Bell to show off her versatile voice, which conveys longing, acceptance, hopefulness, anticipation, and joy in turn. With superb guitar and percussion throughout, it’s clear she is interested in each song not just as a showcase for herself but as a means of communication between artist and listener. Mostly, you get the sense that Bell loves what she’s doing and wants to share the beauty and excitement of these songs with you. Dancing On The Moon is an enjoyable outing of both smooth and improvisational songs, with an upbeat feel, and the blend of styles makes it perfect for the musically adventurous.

Written by: Karen Duda, August 26th 2010

Live in Louisville

admin — Thu, 15 Apr 2010 00:00:00 +0000

By Carrie Rodriguez

Luz Music

“Well you have it, you love it, now it’s your turn to shove it…I don’t want to play house anymore,” sings Carrie Rodriguez on her newly released live compilation album, Live in Louisville. Her soulful voice, accompanied by rousing fiddles, makes her point with grace and force. The tunes on the album come from Rodriguez’ various other projects, but the most colorful are those she takes the credit for writing.

“I Don’t Want to Play House Anymore,” “Seven Angles on a Bicycle,” (from the album of the same name), and “Never Gonna Be Your Bride” are among the more upbeat sounds on the album, but that doesn’t mean the rest are purely maudlin. The slower tracks on the album are as much soulful as they are haunting.

The eclectic sounds of her band would put her solidly in an Americana, that amalgam of roots music that revisions country, folk, and blues, but the unique twists and turns of her voice bridge the renewed attention to the genre with more traditional bluegrass and even the more sentimental songwriting of Jewel, Indigo Girls, and Julie Roberts (of country fame).

There is an element of the unexpected in each song, whether it’s a musical bridge or a turn of phrase, and the dusky sound of Rodriguez’s voice seems to make her the perfect candidate for a closing credits track on HBO’s True Blood—a new Grey’s Anatomy of sorts for launching the hottest new music.

Rodriguez can please the country in you while reminding you through her pertinent lyrics that you’re alive, you share in disasters and joys like the rest of us. And just as you’re ready to dismiss one track as too country or too slow, the next places you squarely in New Orleans among an impromptu fiddle fest or back into a dark, dank bar with a lonely mic.

Live in Louisville's variety—in voice and vision—is well worth a listen.

Written by: Dr. Julie E. Ferris, April 14th 2010

Downtown Church

admin — Wed, 14 Apr 2010 00:00:00 +0000

By Patty Griffin

EMI

It's nothing new for an artist to try different genres of music, but not many can pull off multiple styles in an original way — let alone a way that actually sounds good. Count Patty Griffin among those rare musicians.

I've been a fan of Griffin's since I picked up her 1998 release Flaming Red, a compelling mix of punk, pop, and what was then referred to as 'alternative' music. Griffin's newest release, Downtown Church, is wildly different musically, but no less great a listen.

While some critics—and Griffin herself—have deemed Downtown Church a gospel album, it's much more than that. To my ears, it's an eclectic mingling of soul, blues, gospel, and a couple of songs those of us who have spent some time in the southern part of the United States refer to as spirituals. Griffin's voice is equally enchanting on each of the fourteen songs on the album, whether belting out gospel numbers like “Move Up” and “Wade In The Water,” or crooning the hymn that ends the CD, “All Creatures of our God and King.” Griffin's voice fairly caresses you on the album's lone Spanish language track, “Virgen de Guadalupe.” Though Griffin fluctuates between the somber and the lively, the album's flow and pure woman-positive energy is uninterrupted.

Recorded in the historic Downtown Presbyterian Church in Nashville—hence the album title—Downtown Church features backup performances from country and gospel heroines like Emmylou Harris, Shawn Colvin, and Regina and Ann McCrary. Even if this isn't the kind of music you'd normally tune in to, Downtown Church is definitely worth the listen.

Written by: M.L. Madison, April 13th 2010

American Gong

admin — Wed, 10 Mar 2010 01:00:00 +0000

By Quasi

Kill Rock Stars

Did adding Joanna Bolme on bass somehow ruin the “purity” of the Quasi sound? I would suggest not. Although it would be impossible to argue that their music was thin before, Bolme’s bass adds a perfect oomph without taking away from the chemistry of the duo that already existed. Bolme, like both Sam Coomes and Janet Weiss, is a music veteran, playing with bands like Stephen Malkmus and the Jicks, as well as working with Elliot Smith and producing what is probably Quasi’s most critically acclaimed album, Featuring “Birds.”

A big reason Quasi never sounded thin is drummer Janet Weiss, who is absolutely and completely underrated as one of the best drummers in the business. Perhaps her drumming is bit less bombastic and intricate with Quasi than when she was with Sleater-Kinney, but her calculated triplets and chunky bass drum thumps are scaled back just enough to work perfectly with the sweetness of Coomes’ voice, and she still turns on the heat when necessary. She makes me wish that she was in the White Stripes, instead of Meg White, because as much as I love the White Stripes, Meg White’s drumming is on the lean side. I think Weiss’ style would work perfectly with Jack White, and then they could commence to form The Greatest Rock Band That Ever Existed and take over the world.

American Gong basically continues with the Quasi sound of the last two decades, which is part Beatles, part country blues, and even part Flaming Lips. They’ve still got some of that country-blues-rockabilly on songs like “Rockabilly Party,” but are a tad more Sonic Youth and a smidge less Reverend Horton Heat overall on this album than on some of their others.

There can be no question that their music references other bands; I had to smile at the song “Black Dogs and Bubbles,” which has a lick that sounds quite a bit like the Beatles' jam session that is “I Want You (She’s So Heavy).” And just to make sure you didn’t miss the suggestion, it cuts off abruptly at the end just like the Beatles’ song does. It’s just reminiscent enough to be a happy homage rather than a cheap rip-off.

Quasi still writes songs that are sneakily catchy. I get “It’s Hard to Turn Me On” stuck in my head every time I listen to Featuring “Birds,” and I’ve had “Bye Bye Black Bird” and “Repulsion” repeating in my ears since the first time I listened to American Gong. Their classic rock and country riffs are perhaps less apparent on this album than on The Going Gets Dark or Hot Shit!, but Quasi is still there, writing happy-sounding songs with sadly psychedelic lyrics that still somehow manage to laissez les bon temps rouller.

Written by: Emily S. Dunster, March 9th 2010

Rotting Slowly

admin — Mon, 06 Jul 2009 00:08:00 +0000

By The Curious Mystery

K Records

Their name, Curious Mystery says so much. Curious instrumentation crossed with a mysterious sound as they fearlessly cover the gamut—a grab bag of indie noise rock, folk, psychedelia, country, and blues. It all works whether it’s attributed to their experimentation of sounds, or that they are just an experimental bunch, a breath of fresh air in an arguably stale climate. Trying to describe their genre to potential fans is like reciting a Last.fm blogroll; they would certainly reign with the most listings.

The title of their debut album, Rotting Slowly, makes sense too. Upon first listen, you can picture the moldy deterioration of Seattle area homes amidst damp cold oblivion. You feel the frigid night air as it travels to the bone, yet the shock is so invigorating that you’re ultimately left pining for more.

This four piece band includes Shana Cleveland and Nicolas Gonzales on vocals and guitar, along with Bradford Button on bass and Faustine B. Hudson on percussion. It’s the booming percussion and sedate vocals that drive the idiosyncrasies in their overall sound. The band does happen to call Seattle their home and you hear the influence of fuzzy guitar garage rock with languid apathetic vocals. But what makes it all compelling is their intoxicating love of roots music with an added country twang peppered with an array of homemade instruments.

The song structures are chaotic, heavy and rival label-mate Deerhoof with obscure time changes. Shared vocal duties between Cleveland and Gonzales are countered with bluesy instrumentals, all delightfully erratic and somewhat out of tune. “Dragon’s Crotch” and “Nicaragua” both automatically earn kudos for creatively awesome song titles, but also propitiously envelop these complex sonic textures with the help of an autoharp and a bluesy slide guitar. “It’s Tough” begins with a poppy blues riff, then jumps ship and evolves into an alluring almost cinematic chant. Cleveland’s coughing just out of the mic’s reach is an endearing addition to the organic edginess. “Black Sand” displays her inner Cat Power: beautifully brooding, stormy and tempestuous. The jam session between Hudson and Cleveland is a tousled impromptu alliance emulating the Memphis soul/rock grooves effortless honed by Steve Cropper and Al Jackson Jr. The beginning of “Outta California” makes you want to jump in your car and head up the interstate at suicidal speeds; it then shifts gears unexpectedly with slow slide guitars and longing, impervious vocality.

All in all, _Rotting Slowly _leaves you in a haze as you decipher the eccentric song structures with a mishmash of influential genres. Through the dismal landscape, Cleveland and Hudson take command of this outfit as their ingenious styling effortlessly support and drive the other. One can only wonder just how many more genres they can effortlessly weave into their aforementioned grab bag.

Written by: Cat Veit, July 5th 2009

Trio B.C.

admin — Sun, 21 Jun 2009 23:12:00 +0000

By Girl In A Coma

Blackheart Records

There are a few deciding factors that determine the lasting star power of a band: it all seems to boil down to great songs, a distinctive sound, and a story to run with. Girl in a Coma meet all the criteria in spades while snagging a few extra gold stars and honorable mentions for having an amazing vocalist with a unique resonance all her own. They are also exciting live. They are the best band in the world is all.

In reality, they comprise of guitar bass and drums helmed by Nina Diaz on vocals, Jenn Alva on bass, and Phanie Diaz on drums. Their tight unit is reminiscent of a Nirvana three-piece getting the job done with minimal fanfare and rocking out twice as hard to make up the difference. The album’s title, Trio B.C., was chosen in honor of the Diaz patriarch and his Tejano band, and conveniently illustrates the dynamism of this talented group. His likeness is also emblazoned on the cover as well and sketched by acclaimed artist Shizu Saldamando.

Trio B.C., Girl in a Coma's sophomore album under the watchful eye of label maven Joan Jett, grabs inspiration from various sources; rockabilly, punk rock, new wave, nu-gaze, and blues. As they branch out from their previous effort, you see them mature as songwriters as they creatively weave and incorporate these compatible genres with their edgy brand of punk rock. The record jumps like a game of hopscotch in and around their creative palette relying less on a heavy guitar sounds that drove the previous record and leaving ample room for lyrics and vocals to shine through.

“Vino” really showcases Diaz’s voice as she bellows and croons like a teen angel version of Patsy Cline. The way she ends her phrases with a vibrato lilt would make anyone obsessively hit rewind. “In the Day” is catchy, bright, new wave goodness that mixes The Vapors’ optimism with Morrissey’s acerbic cynicism. Jett’s backing vocals are heard loud and clear in “Joanie in the City” a punk rock anthem to all those rockin’ chicks you always wished you were, and Joan in particular. “Trail” has that nu-gaze ‘wall of sound’ sonic complexity that invites an intent ear to Diaz’s vocal stylizing. She relents, “I’m all right for now… I’ll just never sleep again.” "Slaughter Lane" works its way through the basic elements of roots music, bluesy, bouncy and riff oriented. It is here where each element works together in tandem as if they were playing a homecoming show at [enter steamy club] and having the best gig of their life.

Trio B.C. is a fresh progression of what would be expected from a band this strong and promising in a genre that seems too often to fail in exciting their audience when ingesting new blood. Their signature sound is successfully paired with new creative endeavors. One should expect an invigorating live show as they hash out these new tunes while balancing it all with their indie punk rock sensibilities.

Written by: Cat Veit, June 21st 2009

From the Heart

admin — Mon, 13 Apr 2009 10:29:00 +0000

By Etta James

Legacy Recordings

Discovering new music from a classic artist makes you feel like you’re getting to know an old friend a little bit better. The picture of them in your mind feels more complete and well-rounded. By compiling fifteen tracks of previously recorded songs in From the Heart, Legacy Recordings introduces us to new a new side of one of our old favorites, Etta James.

Unlike other recordings, this album exposes her more soulful R&B talents that are rarely associated with her. Legacy proves that there’s more to this expressive diva than her famous cover of “At Last.” This is most evident in her cover of “I’ve Been Loving You Too Long” and “Try a Little Tenderness.” James’ classic brassy baritone oozes over the smooth beats and creates sounds that are entirely different from her well-known jazz croon.

Don’t worry though, Legacy doesn’t skimp on the old stand-bys. Listeners will get their James jazz-fill with tracks like “My Man” and “My Funny Valentine.” Etta James is currently experiencing a second wind in the media spotlight because of the film Cadillac Records and a new, svelte figure. This album serves as just another reminder of how talented and versatile she is as an artist. Like a surprise phone call from an old friend, James is letting us know that she’s still here and remains one of the greatest female jazz and blues artists of her time.

Written by: Sara Custer, April 13th 2009

Almost a Demo

admin — Thu, 02 Apr 2009 10:12:00 +0000

By Cryptic Shade

The first track on Cryptic Shade’s three-song demo opens with a burst of dramatic metal, evil chords droning with heavy drum beats, and wailing guitar licks in the background. Then it tones down to an almost acoustic sounding guitar with some evil metal chord chugs in the background. Then the vocals come in and turn your idea of what this band is around. Here is a female voice almost sweet, amazingly melodic, that stands out over the music—still discordant, but more bluesy than metal.

The bridge of the track is what impresses most, when vocalist Tina Woods (previously of Necro Dolly and the Jesus Death Machine) switches effortlessly from her bluesy vocals to an intense metal growl that seem more typical for the style of music being played. After this burst of purely evil vocal acrobatics Woods moves back into her bluesy beauty, and this time it seems to fit better as you get a sense of the music the band composes. Cryptic Shade are not trying to be your typical heavy metal band; they have an eclectic sound that brings together a wide variety of influences that, as listed on their MySpace page, range from John Denver to Dream Theater, Marty Friedman to Megadeth.

The music is decidedly heavy and driving, pretty much straight-up metal played very well and very, very tightly. The musical prowess is impressive. Yet without the unique vocal stylings of Tina Woods, they could easily blend into the countless other metal bands that are equally good at what they do. This world is not short of long-haired guys that have spent most of their lives emulating their heroes and now shred on guitar. Tina’s dark yet beautiful vocals make this band stand out, even for people who may not typically listen to this genre of music, and the band’s combined musical talent makes it an interesting listen to anyone who appreciates good music.

This is not to say it is toned down metal—not in the least. They are completely brutal, and I can imagine you would leave one of their live shows with bleeding ears. The combination of two guitars makes for a very, very heavy sound with the complex riffs of rhythm and lead, and absolutely awesome guitar solos.

I can see that straddling this strange place—super brutal heavy metal with complex female vocals—could alienate both serious metal listeners and those who shy away from the heaviness of the genre. But with their talent, dedication, and uniqueness, this could be their edge. Hailing from Portland, Oregon—a city mostly known for twee indie rock—the brutal and unique sounds of Cryptic Shade are worth a listen.

Written by: Jyoti Roy, April 2nd 2009

From the Heart

admin — Sun, 29 Mar 2009 10:25:00 +0000

By Billie Holiday

Legacy Recordings

Legacy Recordings released digitally remastered versions of fifteen Billie Holiday songs for Valentine’s Day, and I can’t think of a better way to celebrate. From the Heart is a collection of some of Holiday’s loveliest work: classics such as Ray Noble’s “The Very Thought of You,” Marks’ and Simon’s “All Of Me,” Cole Porter’s “Night and Day,” and my personal favorite, J. Fred Coots’ “You Go To My Head.” The album is a part of Legacy’s From the Heart series, which includes nine artists.

For those poor souls who have never experienced incomparable jazz and blues singer Billie Holiday, the emotion and humanity of her voice, and the pure élan of her delivery are her trademarks. Both of those are in full effect here. Sadly, many of her recordings are marred by a scratchy sound due to their age and poor quality, but Legacy has done a marvelous job restoring the songs on From the Heart. The voice of “Lady Day” shines through beautifully, with the lush backup of piano, horns, drums, and guitar.

From the Heart is no “Best Of"; for a broader swath of Billie’s work with edgier songs like “Strange Fruit” or “Long Gone Blues,” look elsewhere. However, if you are in need of some pleasurably romantic music for slow dancing and romantic evenings, From the Heart will work just fine. For Valentine’s Day, or any other day, sit down with your sweetheart, break out the bubbly, and enjoy.

Written by: Jennifer Wedemeier, March 29th 2009

From the Heart

admin — Thu, 26 Mar 2009 23:29:00 +0000

By Aretha Franklin

Legacy Recordings

Aretha Franklin's From The Heart compiles sixteen love songs from the Queen of Soul's exhaustive, five-decades-deep discography. Ranging from the very sentimental to the very funky, it's too short to be a hits compilation, and too erratic for a proper seduction.

It's also largely rooted in the eighties, with several cuts culled from 1982's Jump to It and Get It Right. The former, her first entrance into the post-disco commercial pop sound, was also a celebration of her longevity, marking a transformation of sound and a renewed sense of vitality. This album's songs, namely "Love Me Right" and "I Got Your Love," embrace the funk, and Aretha sounds almost giddy as she playfully maneuvers within the new sound. The call-and-response of her big God-fearing voice and the Me Decade's signature slap-bass makes the listener want to saunter onto the dance floor and wrestle with a new formula herself.

But more songs come from Get It Right, almost universally derided as mediocre. Where Jump to It's lyrical content took a backseat to Aretha's sheer presence, here the schmaltzy balladry is front and center–and Aretha doesn't seem too enthused. She coasts indifferently above cheesy and dated melodies, occasionally breaking into over-the-top vocal theatrics that fail to make up for the otherwise tepid delivery. Save "Every Girl (Wants My Guy)," in which Aretha smartly "breaks it down" to a girlfriend over the phone, the work from this album is, indeed, phoned in.

From The Heartworks best when it reaches all across Aretha's vast career, from the very old to the most recent. The selections off of 1998's A Rose Is Still a Rose, notably the Lauryn Hill-produced title track, find Aretha embracing a more urban sound, and establish her as a voice not only of empowerment, but wisdom. Elsewhere, the jazz standard "Misty" sounds almost appropriate for the Porgy & Bess soundtrack, the music bluesy and timeless, her voice guttural and raw. It's a side of Aretha I feel unacquainted with, and a side worth exploring.

The most memorable cut is possibly the least fitting. In her 1964 version of "Unforgettable," the ingenue sings over a full orchestra; while her voice doesn't carry the power she would develop later in her career, it's certainly evidence of things to come. The young Franklin's greatness is inherent, and the huge, swelling instrumentation seems simply fitting, elevating but not enhancing.

See, Aretha doesn't need help. She just needs to be inspired. Beside her gospel-trained voice, Aretha's longevity stems from her ability to own a song. Much of her best work, including the anthemic "Respect," is penned by men. By the same token, much of her best work is about men. In wrenching these simple love songs from other singers and showing them how it's done, she reiterates two-fold her power. She embodies the feeling, establishes her independence, and earns our respect.

From The Heart, however, doesn't quite capture this. Largely uninspired and listless, much of this seems from the pocketbook or from the depths of a too-long recording contract. Only rarely does it sound, truly, from the heart.

Written by: Sarah Jeanne Lombardo, March 26th 2009

Catherine Avenue

admin — Mon, 24 Mar 2008 03:40:00 +0000

By Biirdie

Drive Thru Records

Biirdie came into my life at just the right time. Named for the musical Bye Bye Birdie (but adding an extra “I” because one Birdie band already exists), this southern California folk-rock trio’s sophomore release may not be extraordinarily adventurous or unusual, but they nevertheless make you want to take a long drive into nowhere, windows down. Maybe living in Boston, I hear songs about L.A. and get whimsical for rolling hills that lead to desert. Maybe I crave anything that sounds like perpetual springtime. Or perhaps I just find comfort in sappy, fuzzy rock about confusing love and wishing the weekend would arrive. Whatever it is, this CD hasn’t left my player for weeks as a result.

The one major flaw on this album for me is track three, “Who Were You Thinkin’ Of,” which is what I can only assume is the songwriters’ attempt to be quirky and clever, repeatedly wondering who else their partner was considering while they’d been making love. I know I’m old fashioned about love and romance, but isn’t that wildly insulting? If I don’t understand postmodern hook-ups, it’s because I don’t want to.

Overall, Biirdie won my heart. I looked up concert dates and kept their MySpace page open at work in case I got cranky and needed some dusty indie folk rock. “L.A. is Mars” has been on repeat in my room during the last few weeks, which were particularly sad in my life, and it—along with “Life in a Box”—saved me. I may be prone to repetitive media consumption, but that doesn’t mean any random band can achieve compulsively loved status with me. Recommended if you wish bands like Folk Implosion and Coconut Records would form a supergroup of mellow, country-tinged, roaming blues-rock.

Written by: Brittany Shoot, March 23rd 2008

The Real Thing: Words And Sounds Vol. 3

admin — Wed, 21 Nov 2007 23:24:00 +0000

By Jill Scott

Hidden Beach

Jill Scott was introduced to the world on her aptly titled, brilliant, neo soul debut Who is Jill Scott? (Words and Sounds Vol.1). She co-wrote the classic Grammy winning "You Got Me," performed by The Roots with Erykah Badu, and we've been discovering more of her ever since. With soulful, hip hop poetry style here on her third proper studio release, she continues the trend, but with more jazzy flourishes. Having experienced the vagaries of fame, as well as a brief marriage in the last few years, her lyrics as ever are cathartic, and the sound more mellow.

Opening things is the brief, hip hop styled "Let It Be." The title track is full of wailing electric guitars, giving a lite-rock feel, with Jill declaring she is the real thing. Lead off single "Hate On Me," also guitar and horn driven and set to heavy hip hop beats, is her retort to those hating on her because of her fame. The airy, bouncy, bass heavy "Whenever You're Around" belies the lyrics of the song: "cause I'm lonely/whenever you're around." Other standouts are the quiet storm of "Come See Me," the brooding, spoken "Epiphany," bass heavy "Only you" and, as its name implies, heavily blues styled "Celibacy Blues."

Another classic from Ms. Scott, who always gives her fans the real thing!

Written by: Nse Ette, November 21st 2007