The Sun Came Out

admin — Wed, 26 Aug 2009 17:09:00 +0000

7 Worlds Collide is like an alt-folk “We Are The World” with admittedly fewer people of color. Headed up by Crowded House frontman Neil Finn, the second release from this international supergroup is an OxFam benefit double album featuring completely new material. After the success of the group’s first outing in April 2001, this newly reconvened and reassembled motley crew of performers has created a mellow collection of rock tunes for a laid-back audience that would rather nod heads and tap feet than mosh and scream.

The question is, inevitably: should I be purchasing this album because I like to pretend my supposedly conscious consumerism aids poor children, or am I really so taken with Kiwi musicians that I cannot pass this up? Do I really believe that Finn is capable of more than penning “Don’t Dream It’s Over?”

The success of this project falls equally on its collaborators. Some of the fellas are Wilco’s Jeff Tweedy, Pat Sansone, John Stirratt, Mikael Jorgensen, and Glenn Kotche, and Radiohead’s Ed O’Brien and Phil Selway. The ladies represent with KT Tunstall, Bic Runga, Lisa Germano, and Sharon Finn. These gendered ratios seem inevitably weighted in favor of the men, regardless of the producer’s plans or desires. The road to hell is paved with good intentions.

I once unexpectedly met Jeff Tweedy in a record store. This was during the time in my life when driving twelve hours to a Wilco concert was standard operating procedure, and suddenly faced with my idol in my own city, I burst into tears when I attempted to speak to him. Try to imagine our collective horror. I am quite sure you cannot.

Though my enduring obsession with all things Wilco has given way to a larger array of musical fixations, the songs on this album that do it for me are the Tweedy ones. Another high point is the Tunstall/Runga collaboration. These two beautiful voices have too few opportunities to publicly harmonize.

The rumor is that the recording sessions for The Sun Came Out were a family-friendly affair. It’s important to keep the ideals and message consistent from conception to delivery. If these talented musicians interrupted holidays and honeymoons to collaborate, knowing they were able to bring along their loved ones is reassuring.

You can always send money directly to charity, but if a tangible return on your gift propels you toward philanthropy, consider sampling this indie rock collection. There’s a little something here for everyone.

Written by: Brittany Shoot, August 26th 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