Various Artists

My Name is Khan Soundtrack

admin — Fri, 02 Apr 2010 00:00:00 +0000

My Name is Khan is a Bollywood movie that captures the post-9/11 journey of a Muslim immigrant who has been diagnosed with Asperger’s Syndrome. The movie and its soundtrack by Shankar Mahadevan, Ehsaan Noorani, Niranjan Iyengar, and Loy Mendonca has remained at the top of the charts since its release in January.

There are six original tracks on My Name is Khan. The first song, "Sajdaa," is sung by Richa Sharma Rahat Fateh Ali Khan and Shankar Mahadevan. "Sajdaa" is the hip, happy song of this album, and brings a spring to your feet. The tracks that follow are the melodius "Noor E-Khuda, sung by Adnan Sami, Shankar Mahadevan, and Shreya Ghoshal then "Tere Naina," whose lead vocals by Shaqat Amanat Ali are an absolute delight to ears. The song praises the “eyes of beloved” and transforms into more traditional qawwali toward the end.

“Allah Hi Reham” is a concoction of Sufism and spiritualism that includes a four-minute solo sung by Rashid Khan. It's lyrics are the best in that the song stays longest in your mind. The titular theme performed by The Bombay Film Orchestra is mildly pleasing, but it could have been better. The album ends with "Rang De," sung by Shankar Mahadevan with Suraj Jaggan on accompanying percussion, and is the perfect close for this wonderful musical experience, as it is an inspirational tune that conveys the virtue of goodness and honor.

The disc also has four bonus tracks that reference the filmic history the stars of this movie (Shahrukh Khan and Kajol) have together: “Kuch Kuch Hota Hai,” “Suraj Hua Maddham,” “Kal Ho Na Ho,” and “Kabhi Alvida Naa Kehna.” The CD also features a video of the film's theatrical trailer. The album artwork is designed beautifully, like a manual. The pages have the storyline of the film, director’s notes, stills from movie, song lyrics translated into English, and a dedication to the people behind music.

All the songs on this soundtrack are a welcome change from your typical boisterous filmy pop. My Name is Khan takes a detour by embracing classical Hindustani music, and the elements from Sufism give the music a mystical touch. The lovely lyrics sung by soothing voices make these songs exemplary.

Written by: Sunitha Jayan, April 1st 2010

I'll Stay 'Til After Christmas: A Christmas Album to Benefit Amnesty International

admin — Mon, 01 Dec 2008 11:31:00 +0000

By Various Artists

AWR

As far as I’ve ever been able to determine, there are two sides of every holiday, binaries inhabited by people who either rejoice in merriment and love, and the rest of us who find holidays—particularly the wintry, mostly-religious ones—vomit inducing, an excuse to sit alone somewhere and cry. If only I were exaggerating.

I loathe obnoxiously happy holiday tunes for many reasons, and because my birthday is December 24th (the day known to some as Christmas Eve), I get to listen to them straight through my own Jesus-shared time of year. I walk into a department store, and there’s Mariah Carey on the loud speakers, her sexualized Santa-love shared with every hearing person in the Misses section. Don’t you think this should make me even more depressed and aggressive?

The only holiday songs I like are sixty years old, in a language other than my own (because then I can’t understand them!), or that slightly terrible but addictive “Christmas Wrapping” track from the Waitresses. American grocery stores, purveyors of lonely-people music as much as fattening food, seem to take great pleasure in pumping out this song all December (and sometimes starting as early as October), reminding their usual single woman target audience that maybe this year, they’ll meet some cute guy in the aisles. Consumerism for the win! Get shopping, ladies!

I need holiday songs that confirm how miserable I am, how lost I feel in this blissfully happy world of yuletide wonder. I’m another year older and constantly exposed to the new “Joy To The World” remix from the new age, synth-loving clusterfuck that is Mannheim Steamroller. This year, courtesy of my partner’s Scandinavian family, I have five-hour dinners to look forward to, followed by dancing and singing around a candle-lit tree. Lethargy mixed with unpronounceable chaos will no doubt ensue, assuming the evergreen doesn’t go up in flames. Where the hell are my headphones?

I’ll Stay ‘Til After Christmas is the angry person’s redemption. You no longer have to retreat to your Elliot Smith; there is no longer a need to front. “Look, I brought some Christmas music too!” Everyone will be so proud, and you will have the last hostile laugh. Man of Arms says it best on “It’s Christmas Time and Every Thing’s Wrong”; he’s actually deconstructing poverty, war, and religious iconography. Certainly, if you’re going to go pissed and angry about the holidays, go big. So while this track clocks in at 1:35, it might very well be my favorite. On “My White Elephant,” which I’ll pretend is a nod to terrible gifts, duo Arthur and Yu explain, “I didn’t know how I feel.” Numbness as holiday survival is alive and well.

The Turk Dietrich “Blue Christmas” cover is so distorted that you can hardly recognize the original, which perhaps to speaks to our collective inability to admit how gloomy all of this false happiness makes us. No Kids ask how they can “face another winter in a summer town,” and it makes me want to kiss them under some wilting mistletoe. Tracks by Au Revoir Simone, Le Loup, and Sally Shapiro are decidedly more upbeat than the rest, but retain an appropriately somber quality. This sad bastard take on Christmas is finally as angsty as I am.

And who doesn’t love giving money away in lieu of gifts? What if you could do both? All album proceeds go to Amnesty International, and since this is a digital-only release, there is less clutter under the tree and in your everyday life. See? Happy endings to sad stories. Merry freaking Christmas.

Written by: Brittany Shoot, December 1st 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

Just One More: A Musical Tribute to Larry Brown

admin — Mon, 25 Jun 2007 00:15:00 +0000

By Various Artists

Bloodshot Records

Wow, this musical tribute to Larry Brown keeps your feet tapping and your mind working. These songs, by artists Brown admired, put you in the passenger seat of his little truck as you drive through the small and friendly neighborhood in the South. Spending much of his life as a firefighter, Larry Brown wrote and finally struck gold in 1988 with a collection of stories called Facing the Music. As his writing continued, he became well-known as a Southern writer of literature. His love for music equaled his passion for writing. After Brown suffered a fatal heart attack, producer and pal Tim Lee contacted artists to create this musical tribute to a man considered a friend to most.

Listening to the album, you feel the flowing and engaging wondrous moments of songs that hit the sweet spot – that is what it's all about. With 12 previously unreleased tracks, Just One More contains quality tracks by Brown’s friends including Greg Brown, Caroline Herring, North Mississippi Allstars and Robert Earl Keen. The American Roots strand interweaves the genres of blues, folk and salt of the earth lyrics — seeming much like Brown's characters, who were honest and pained, but eternally real. As a serious music fan, Brown worked with several artists at some point to live out his musical dreams. The final track called "Don't Let the Door" presents both Brown and another southern novelist, Clyde Edgarton combining musical talents.

The underlying feeling of the music offers solace and, after it ended, I listened again. Heartfelt and warm, lyrically pleasing and honest, Larry Brown feels like he could be my buddy too. At the end of the disc, I wanted more music, a beer, a cigarette and a seat on a patio where I could watch people and smile at them.

Written by: Carolyn Espe, June 24th 2007

Soul Sides, Vol. 2: The Covers

admin — Sat, 26 May 2007 02:35:00 +0000

By Various Artists

Zealous Records

Zealous Records continues to amaze with another brilliant compilation of classic soul tracks, Soul Sides, Vol. 2: The Covers. The 14 tracks range in style from old-school funk to smoother grooves. There are many highlights to the collection, but stand out tracks include Sharon Cash’s horn-inflected “Fever,” Antibalas Afrobeat Orchestra’s “Che Che Cole” and El Michaels Affair’s bass-heavy “Walk On By.”

The collection reaches its pinnacle with three tracks in particular, juxtaposed to showcase the reach of classic soul music. Al Green’s signature warmth is on full display in his rendition of “I Want to Hold your Hand.” Marcia Griffiths’ impeccable phrasing on “Here I Am (Come and Take Me)” compliments the lyrical simplicity to create a rich, emotional track. But it is Esther Phillips’ “Home is Where the Hatred Is” that steals the show. Phillip’s shows off her considerable musical gifts on this most emotionally raw song. All in all, the disc is a must-have for soul music lovers.

Written by: Ashvin Kini, May 25th 2007

Backspin: A Six Degrees 10 Year Anniversary Project

admin — Thu, 17 May 2007 18:45:00 +0000

By Various Artists

Six Degrees

"Everything is closer than you think” is the motto of indie label Six Degrees, moving on the perspective that everyone is connected by six degrees of separation. Now a leader in global pop music, the San Francisco-based company was founded ten years ago by two former Windham Hill employees, Bob Duskis and Pat Berry. To gain back control over who and what went on labels - not just satisfy the people in accounting - the pair started their own label with their “ears open.”

Backspin: A Six Degrees 10 Year Anniversary Project dovetails the look backward and forward in the progression of music across the globe. The label produces eclectic “genre-bending” records out of their operations base and this small, impactful outlet brings into its fold a cross-cut of a variety of cultures: Indian, Brazilian, Arabic and Latin, to name a few. Encompassing the world of electronica ethnography and revealing that electronic music is culturally various around the world.

Backspin presents a dozen artists recording legendary favorites in new adaptations. This collection of new spins on old favorites - originally by artists like The Police, Jimi Hendrix and Pink Floyd - reflect the diverse perspective that music allows. The release is a cross section of artists recording standards in a new approach from their original casing, with Shrift covering "God Only Knows," New Dehli’s MIDIval PunditZ recreate Led Zeppelin’s “Four Sticks” and The Bombay Dub Orchestra rework the "Get Carter Theme." Artists from all corners of the world transcend geographic borders and touch the human spirit.

Written by: Mary O'Hara, May 17th 2007

Women at Work

admin — Wed, 02 May 2007 00:01:00 +0000

By Various Artists

MVD Entertainment Group

Women at Work did not, thank God, spin me back to 1982, the year in which I had to stop wearing my favorite wide-necked cotton t-shirt with the rainbow of teal, red and forest green behind a cartoon unicorn in repose because a certain biology class substitute teacher complimented me on it repeatedly in front of everyone and made me feel ‘ooky.’ And I was 12! Gross!

Although an acoustic flavor pervades this tribute to those vegemite eaters of the early eighties, it’s okay to remember a band that was mostly about having fun, particularly if one considers the continuing pink-collar ghettoization and pay disparities of _actual _women at work. And these are the afflictions of the privileged in developed nations, never mind global working conditions and human trafficking, all things that would make any reasonable individual chunder.

Sigh. Get this CD if you want to remember a perhaps pleasantly nostalgia-inducing act through the vocal stylings of some lovely, Australian nightingales. You could listen to it as you soak in a tub with a little eucalyptus oil after a tough day, yes, at work.

Written by: Erika Mikkalo, May 1st 2007

New Arrivals: Volume 2

admin — Tue, 10 Apr 2007 12:56:00 +0000

By Various Artists

MPress Records

Rachel Sage’s Mpress Records presents its second compilation, this one to benefit the organization Artists Against Hunger and Poverty, a division of World Hunger Year. Eighteen performers are showcased, most solidly in the “My heart: here” tradition of straightforward song stylings, some more twang than others. Chicago’s Todd Carey is featured, as well as 2006 Independent Music Award winner Kristy Krüger, introducing us to a “Dark Stranger” that we may have all already met, or wish that we would.

Any compilation that includes an artist with the ovaries to describe herself as “Trent Reznor with tits” (Natasha Alexandra) deserves a listen, although I can’t help but decontextualize for a moment to despair that the male remains the normative. Shell out and give this disc a spin to help the hungry and chip in towards a day when a male performer might be described as “Patty Smith with vas deferens.” But, vive la difference, the boys and girls on this album all tend to play well, although not necessarily ‘nice.’ And that’s how I like it.

Written by: Erika Mikkalo, April 10th 2007

Various Artists – Cochen en Boite

admin — Thu, 22 Mar 2007 19:03:00 +0000

By Various Artists

Princehouse Records

Mislead by the rather alluring title and expecting something on a par with St. Germain’s sleep-inducing tooting, I practically wept with the grief only an avid music fan can know when forth from my stereo spilled the stomach disrupting lyrical expulsion of Jillian Iva breathing, “I'm a love maker, soul shaker, body manipulator,” in a manner not far removed from Cher’s auto tune incident. I persevered through hallucinations of topless grinding, dax wax a go go clichés of all night gay bars, cringing at the cheesy lyric overload. The Kohl Heart: “so dot your ‘i’s and cross your ‘t’s ‘cause baby you’re just like a disease.” Hey Willpower: “I’m ok with playing truth or dare so long as you end up in your underwear” and on it went. Needless to say, I was rather disturbed.

Cochon en Boite is a selective showcase of bands signed to Cochen and Princehouse Records, a painfully artsy and hip crowd based in hilly San Francisco. However, the album isn’t a complete lost cause. Kicking off around track seven with ProCon’s 80s stomper, moving swiftly to Vanishing’s “Idol Eyes” for some serious pumping hypnotism and the brilliant Veronica Lipgloss and her Evil Eyes are like a parade of marching Kat Bjellands playing Diamanda Galas on ghetto blasters. Finally, the concluding track by Paradise Island, Jenny Hoyston’s (of Erase Errata fame) solo project, is without a doubt the saving grace of this record.

Written by: Emily Aoibheann McDonnell, March 22nd 2007

What’s Happening in Pernambuco: New Sounds of the Brazilian Northeast

admin — Wed, 14 Mar 2007 13:29:00 +0000

By Various Artists

Luaka Bop

Pernambuco is at the heart of Afro-Brazilian tradition. Mangue Bit, the musical style of this album, weaves electronica with the centuries-old rhythm of maracatú _and the stanza-refrain pattern of _embolada. The name “Mangue Bit” combines the Portuguese word for mangrove with a computer bit. Although the waters are brackish, mangrove swamps are diverse ecosystems, and Mangue Bit reflects this fertility. The movement originated in 1991, when Fred Zero Quatro, a Recife musician of national renown, wrote the Mangue Manifesto. This lamented on the region’s poverty committed to a revival of the Recife arts scene, declaring that it was “time to inject some energy in the mud.”

This album blends the rootsy feel of Northeastern music with rock, rap, funk and electronica. It features Nacão Zumbi, the movement’s founding fathers, who sang with Chico Science as CSNZ – Chico Science Nacão Zumbi – in the movement’s early days. Junio Barreto’s “Amigo’s Bons” (Good Friends) typifies the form; this song is a social commentary on poverty, relying on the rhythm of maracatú and a refrain, experimenting with electronic sound throughout. Rhythmic and edgy, Mangue Bit is reminiscent of Candomble priestesses, who retained tradition older than they, and created something entirely new under oppressive circumstances.

Written by: Nathifa Greene, March 14th 2007

Old Town School of Folk Music Songbook, Vol. 1

admin — Sun, 18 Feb 2007 11:44:00 +0000

By Various Artists

Bloodshot Records

As a native Chicagoan, I was delighted when the Old Town School of Folk Music Songbook, Vol. 1 arrived. The work of nearly 50 years of lessons and learning felt warm and familiar in my hand. The songbook contains 23 classic songs performed by a variety of artistic talents, some nationally known; others are instructors at the school – with decades of performing experience. The Old Town School of Folk Music was established in December 1957 and has been sharing, teaching and incubating music ever since. Now with two locations, the school has grown from the original location at 333 North Avenue with 150 students to expand programs to a much larger Lincoln Avenue facility while maintaining its music education programs in Lincoln Park. The Lincoln Square and Lincoln Park facilities offer workshops, classes in dance and art, seven days a week, 48 weeks a year to 6,000 students per week, nearly half of them children. The school not only offers education and workshops; performances by touring artists are on stage virtually every weekend. Through the ups-and-downs of a 50-year history, growth and decline coming near bankruptcy, what sets the school apart from other programs is the commitment to and philosophy music is for all people, regardless of age, experience, culture or tradition.

The Bloodshot Records recording of the actual school songbook features school faculty and staff, along with renowned friends such as Robbie Fulks, John Stirratt, and Janet Bean. The classics ring out the tradition of pure folk music such as “Amazing Grace,” “Wabash Cannonball” and “Drunken Sailor.” The lyrics of traditional folk music reflect the outdated relationships between men and women, who are “sweet as any honey.” The historical value of that tradition made me cringe on several occasions when the songs reflected the perception of woman’s role in the world is still one to be taken care of by a man.

The musical talent record includes some of the best harmonica, washboard and acoustic work I have ever heard; the foundation of blues and bluegrass stay strong. If only we could rework the lyrics to bring a greater insight to the changing roles of women in today’s world.

Written by: Mary O'Hara, February 18th 2007

New Arrivals: Volume One

admin — Mon, 29 Jan 2007 13:47:00 +0000

By Various Artists

MPress Records

Upbeat and flowing, this album has a lot of very powerful music and lyrics on it. From Noe Venable's "Juniper," to Paul Brill's "New Pagan Love Song," the music in this selection is a definite must-have. Whoever edited this work paid a lot of attention to detail and continuity between selections and it really, really shows. All of this music I found very upbeat and easy to listen to, but without being maudalin and boring. Well worth your listening time. Classic folk-type music in the modern era. These artists will defiantly become ones to watch for in the future.

Written by: caroline tigeress, January 29th 2007

To: Elliott, From Portland

admin — Sat, 16 Dec 2006 14:45:00 +0000

By Various Artists

In Music We Trust

Listening to a tribute album can be risky, kind of like watching the Hollywood adaptation of your favorite book. You can’t resist seeing the movie because you loved the book, but you leave the theatre feeling two hours older, ten dollars broker, and you swear you’ll never do it again. That said, don’t be scared to pick up the Elliott Smith tribute. Do what I did. Pop in the disk, listen intently, cross your arms and stare doubtfully at your CD player ready to hate everything about To: Elliott, From: Portland. Then breathe a sigh of relief when you realize that Expunge Records did a good thing. They put thirteen songs you already love on one album and they chose bands that do more than just their best Elliott imitations. Sure, they play songs we’ve heard a million times, but they do it without sacrificing individuality and diverse influences. If you loved Elliott as much as I did, the sad tracks turned happy on the tribute can take a little getting used to, and you might not love hip-hop covers of songs that used to make you feel glad to be depressed. Still, nobody could have told me I’d be playing Crosstide’s Prince-inspired "Angeles" on repeat or that I’d be putting Dolorean’s version of "The Biggest Lie", complete with country twang, on the mix CDs I play at work. It’s true. I actually like hearing Amelia’s soft, pretty voice sing me to sleep in "Between the Bars." I was as skeptical as you are, but I’m not ashamed to admit that To Elliott is still in my CD player and that I’ve checked out more than one of these bands’ original albums. It’s not because I’m an Elliott Smith fan who likes Elliott Smith fans. It’s because they’re good.

Written by: Terri Bennett, December 16th 2006