Peter Piatkowski

Baby

admin — Tue, 12 May 2009 10:19:00 +0000

The sophomore set from the Texas-hailed band is a challenging listen that may tax some listeners due to the consistent, if sometimes, monotonous sound. Singer Mara Lee Miller has a strange, formless yowl that echoes such disparate influences as Billie Holliday and Janis Joplin as well as sharing sounds with contemporaries like Feist or Norah Jones. Her phrasing is often elastic and endearingly tuneless, yet there’s considerable timbre, remarkable for a singer so young. The end result is an indie record that has a distant relationship with jazz.

The songs are based around some average to good piano work. The structures of the songs, much like Miller’s vocals, are a bit sprawling. While it’s an interesting sound, it doesn’t make for terribly catchy music, although listeners who stick by Miller’s work will be rewarded because her singing is interesting and intriguing. Her vocals on the record are tinny as if the studio she worked in had a cavernous ceiling and walls; there is a slight reverberation to her voice and a refreshing lack of studio sheen.

Much of the tunes are played a bit like a dirge and none of the record would be considered party music. When the songs do pick up a bit, such as “Whiskey Town” or “Train Song,” there is a much-needed, although strongly muted dose of whimsy that alleviates some of the somberness of the album.

Baby isn’t a stellar record. Too much of it sounds alike, and after a few listens, the songs begin to bleed into each other. However, Miller’s voice is an eccentric and fascinating; one that deserves a chance.

Written by: Peter Piatkowski, May 12th 2009

The Annie Lennox Collection

admin — Tue, 05 May 2009 17:27:00 +0000

By Annie Lennox

Arista

There are some striking facts that become evident when listening to this collection of the former Eurythmics frontwoman: first, how similar her music sounds to her work with Dave Stewart— lots of thick, fat synthesizers and glassy dance beats. Second, Lennox is an artist that personifies contradictions: she’s a white woman from Scotland with a soulful wail that would rival any gospel shouter; her songs are full of melancholy and longing, yet the production is often pristine and classy to the point of antiseptic. Also noticeable is just how consistent her sound is—her solo work has changed little during her considerable career—a testament to her ability to maintain a level of quality in her music (this record sounds like a full studio LP, as opposed to a collection).

The record starts off with a bang, with three of her best solo records from her strongest solo album, her debut Diva: the funky “Little Bird,” the paranoid “Walking on Broken Glass” and the gorgeous weeping ballad, “Why,” which is Lennox’s sole solo classic. The songs are Lennox at her best. “Little Bird” and “Walking on Broken Glass” are both great dance numbers and, despite the peppy arrangements, Lennox still sings lyrics of lost love.

“No More 'I Love You’s'” was the best single from her sophomore release, Medusa. A collection of covers and remakes, the album wasn’t terribly well-received, although this song won her a Grammy and was a hit on MTV. It’s a pretty obscure 1980s synthpop tune that Lennox has resuscitated. The chorus is very catchy and Lennox is, of course, wonderful, soulful and predictably heartbreaking.

“Precious” breaks up the excellence of the album, with clunky, dated R&B production (the mile-wide bass slaps are ridiculous). Lennox sounds as if she was convinced of the mediocrity of the song and phones in a decent, if unremarkable performance very unlike her usual professionalism.

Aside from “No More 'I Love You’s',” Medusa gave Lennox another gem with a lovely cover of “Whiter Shade of Pale.” The cool production, with its pulsing beat (it sounds like a heartbeat), and creamy, blanket-like orchestration and tinkling harpsichord matches the committed and brilliant performance by the singer.

“A Thousand Beautiful Things” was an excellent cut from her comeback record Bare. It’s classic Annie Lennox—by the song’s release in the mid 2000s, Lennox had defined a sound for herself— namely, stately, polished pop/R&B with wall-to-wall synthesizers and thumping drum machines, eccentric backup vocals and usually a melisma-filled bridge. “A Thousand Beautiful Things” satisfied all these qualities well.

On “Sing,” Lennox addresses politics—specifically feminism, with a chorus of fellow female superstars including Madonna, Gladys Knight, Dido, Fergie, Mary J. Blige, Anastasia, among others. The single from her underrated 2008 Songs of Mass Destruction is an excellent female anthem. It takes a cue from USA for Africa’s “We Are the World” with an all-star cast; though, interestingly, it’s only Lennox and Madonna that are distinguished on the track. Wisely choosing to write a driving up-tempo number, Lennox crafts a thoughtful song that is at once intelligent and fun to listen to.

By the next song’s opening strains, listeners are lead to believe that they’re in store for another trademark Lennox ballad. Instead, after the plaintive opening of “Pavement Cracks,” (another choice track from Bare) a chugging bass enters with a clanging guitar, turning the yearning ballad into a sprightly dance cut. “Love Song for a Vampire,” Lennox’s theme to Bram Stroker’s Dracula, is another minor entry in the singer’s resume. A decent, if unspectacular song, with some interesting sounds and a typically good performance by Lennox. “Cold,” a word often used to describe Annie Lennox is another wonderful ballad, in a similar vein to “Why.” There are some great, backup vocals that allow for Lennox’s inner gospel diva to be released as she spars with her background singers. “Dark Road,” the initial single from Songs is also a pretty ballad, although it’s a bit redundant of her other slower works, and doesn’t live up to the standards of “Why” or “Cold,” but does boast a moving string section.

The record closes with two new songs: “Pattern of My Life” and “Shining Light”—neither are particularly memorable, but they aren’t complete time-wasters either; they just pale in comparison to the classics.

__The Annie Lennox Collection_ is a good overview of Lennox’s career; there are some omissions, such as her duets with Al Green, Aretha Franklin, and Sting; it would also have been nice to have some more obscure material like “Mama,” an esoteric entry for a charity record, or “Step by Step,” a dance-pop single she wrote for Whitney Houston. Still, it’s a good buy for first-timers; those interested in getting to know Lennox better would be better served buying her classic debut record.

Written by: Peter Piatkowski, May 5th 2009

Sweet Tea: Black Gay Men of the South – An Oral History

admin — Fri, 23 Jan 2009 00:50:00 +0000

By E. Patrick Johnson

University of North Carolina Press

The African-American community and the gay community have come under scrutiny since the passing of Proposition 8 banning gay marriage in California. Black voters reportedly came out in unprecedented numbers to support the ban, furthering the stereotype of rampant homophobia among the black community.

Northwestern University professor E. Patrick Johnson has compiled an excellent collection of stories and interviews with gay black men from the South in Sweet Tea: Black Gay Men of the South. A strength of this book lies in its ability to highlight the relationship between the gay community and the black community as well as the relationship between the gay community and the South.

Johnson has chosen to keep the interviews in the original transcribed versions. This ensures that each narrative is distinctive. The conversations are often lyrical and musical, particularly with the older subjects.

The stories inspire a varied set of emotions and responses—many are heartbreaking, some are infuriating, and there are a few that will leave smiles and chuckles. This text is extremely readable because Johnson steps back and allows for the narrators’ voices to shine through. For the uninitiated, a helpfully glossary of Southern or gay phrases is included.

Oral histories are important in the African-American community. During the days of slavery when it was illegal to teach black people to read, narratives were handed down to generations through oral histories. Johnson links his stories to that tradition by using idiosyncratic voices of his subjects.

The book is organized into different topics, which creates some confusion because the reader has to remember interview subjects who make appearances throughout the book. Topics range from growing up in the South, the "down low", and AIDS/HIV. Most laudable is Johnson’s inclusion of transsexuals and transvestites—a population that often is ignored.

This is an important book because Johnson provides a forum for a topic that is often shrouded in misinformation, cliché, and prejudice. Black gay men have the unfortunate burden of straddling two subcultures that are sometimes at odds with each other. After reading this book, readers will also learn that the South’s reaction to the gay community is more complicated than just "Southerners hate gay people."

Written by: Peter Piatkowski, January 22nd 2009

Tibet Travel Guide (7th Edition)

admin — Sat, 17 May 2008 12:55:00 +0000

By Bradley Mayhew, Robert Kelly, John Vincent Bellezza, Tstering Shakya

Lonely Planet

The torch-lighting ceremony in Paris, disrupted by protests highlight the still-contentious controversy of Tibet’s relationship with China. A cause of activists for years, pro-Tibetan demonstrators argue that the Chinese government’s heavy-handed policies and treatment of Tibet result in gross human rights violations, including unfair imprisonment, torture and death. Such troubling events could make Tibet a questionable destination for your next trip. After all, many businesses in Tibet are Chinese-owned and operated, so the perceived “modernization” of Tibet can be arguably benefiting China at Tibet’s expense.

The Lonely Planet’s Tibet entry is a great guide that will ease a lot of the discomfort potential travelers may have when considering Tibet for their vacation. Besides a letter in the preface by His Holiness the Dalai Lama, the authors – Bradley Mayhew, Robert Kelly and John Vincent Bellezza (there is also a contributing author credited, Tsering Shakya) – take great pains to highlight Tibetan businesses and they make a point of encourage readers to patronize local Tibetan vendors, merchants and businesses. As expected, there are important phrases translated – mainly greetings and what would be useful to say when ordering food. The phrases are in Mandarin and Tibetan, including tips on pronounciation.

Lonely Planet follows the series’ format, which gives readers an easy-to-read how-to of visiting Tibet. A debit of the format is the paucity of photographs – there are thirteen pages of color photos – one page dedicated to the authors, and though the men are pleasantly handsome, more pictures of temples, cities, or monasteries would be preferable. In lieu of photographs, we get excellent descriptions of the various sites suggested. The prose is clean, simple and at times, humorous (they warn readers that the abundance of monasteries can cause “Buddha-burnout”). The descriptions are useful because they will let the reader know if a site is particularly difficult to reach (or in a lot of cases, climb). The names of points are in bold print, so you can spot quickly what you’re reading about and it also makes it easier to quickly spot a certain landmark on a page.

Along with the usual “where to go” tips, the book also devotes sections to culture and history. These parts of the book are especially important because they not only clue the readers in on the behaviors and customs of the locals, but also give context to the political struggles facing Tibetan people today. While surprisingly comprehensive in its dealing with the history of the conflict between China and Tibet, it would be a mistake to make this book the sole source for those interested – instead, the guide should act as a supplement to books, articles and other new sources on the subject.

One thing becomes very clear when reading this guide: Tibet is definitely a “roughing it” vacation destination. The storied Mount Everest as well as the less-celebrated Mount Kailash and Mount Meru all earn cautionary descriptions that include suggestions of various modes of transport (much of it arduous, difficult and character-building). Tibetan cuisine is also prefaced with a concession that gourmets and foodies won’t list the country among the gastronomic capitals of the world (yak-butter tea, a particularly distressing mixture of yak butter, salt, milk, soda, tea, and water gets its own section – as well as a warning label).

Tips on what and how to pack are included as well. A challenging trip to an exotic locale like Tibet requires special care dedicated to packing – the climate, terrain and environment require appropriate clothing, luggage and various equipment (including water-purifiers to prevent dreaded diarrhea. These tips are great, especially for adventure-neophytes who have no idea what they’re getting themselves in to (for example, did you know that in flight to Lhasa, a can of instant coffee and explode due to pressure changes?).

For most, Tibet means the Dalai Lama, yaks, monks, and Mount Everest. For the more politically sophisticated, Tibet is a topic of hot debate. However, there is so much more for a prospective traveler to see. An important note the authors, and the Dalai Lama, make is that traveling to Tibet is an excellent way to cross and break cultural borders and prejudices. In light of the problems facing the Tibetan population and its valiant effort to preserve its culture, a deeper understanding of the country is sorely needed.

Written by: Peter Piatkowski, May 17th 2008

Lonely Planet: Los Angeles & Southern California (2nd Edition)

admin — Tue, 13 May 2008 17:54:00 +0000

By Andrea Schulte-Peevers, Amy C. Balfour, Andrew Bender

Lonely Planet

Writing guide books for cities as widely visited as Los Angeles can be challenging. One is faced with the question: what’s left to write about? All the usual suspects make an appearance in the _Los Angeles & Southern California _entry of Lonely Planet’s guide series: Universal Studios, Disneyland, Rodeo Drive, the Ivy. For readers – most notably L.A. and SoCal first-timers - the descriptions of these California icons are servicable, though they don’t offer anything new.

As is expected with a guidebook outfit as thorough as Lonely Planet, there are loads of unexpected sites and entries, as well: the Museum of Tolerance, a must-see and much-needed antidote of reality for the artifice that can be pervasive in Los Angeles; a fun stop for history buffs, the Richard Nixon Presidential Library is also highlighted – which promises a revamped Watergate exhibit; for the science buff as well as the architectual fetishist, the Salk Institute, housed in a classic Louis Kahn building, is a popular stop; and entertainment junkies who tire of the film and television-oriented Los Angeles can travel to San Diego, which is home to the Old Globe Theaters that host the summer Shakespeare festivals (though fans of the Bard are cautioned that other works are also performed).

Like other Lonely Planet guides, this entry could’ve had more photographs; though there is a copious amount of maps, highlighting sites, restaurants, and hotels. There are four pages of features sites, all in attractive color pics. Another section, dubbed “SoCal Speaks” gives various locals (including Los Angeles mayor, Antonio Villaraigosa) a chance to trumpet their favorite part of Los Angeles. It’s an interesting and harmless section, though more pictures of the city and the surrounding areas would be more helpful.

Another issue with the guide, though this could be attributed to the city it’s reviewing, is how celebrity-mad the authors seem to be. Los Angeles is more than just superstar-country and the authors’ constant name-dropping (even going as far as using the tabloid-friendly “first-name only” style – i.e. “Britney, Leo”) only add to the cliché. That said, the book has a lot going for it, as long as readers get into the spirit of the kind of vacation a trip to Los Angeles is. It’s not a cultural eye-opener that a jaunt to Sri Lanka or Kenya would be. And while it’s easy to deride California as the cultural wasteland of the United States, a look through this book would set any narrow-minded prejudice straight.

The authors take a strong and critical look at Los Angeles in the opening sections of the book, giving readers socio and economic background information – an important point the book makes is that the richest and the poorest in the country live in Los Angeles. Rougher areas - like Compton and South Central - get mentions, though understandably, they’re not as highly recommended as Beverly Hills or Santa Monica. It’s commendable of the authors to mention these underserved areas; there is a great mention of the Watts Towers, and the authors make a point of not glossing over the Watts race riots.

Another difficulty the authors tackle with aplomb is the sheer volume of information available. There’s a lot to see in Los Angeles and Southern California, and there are a lot of places to eat at and stay. The suggestions are helpful – they are broken down by area and price-range (though, potential visitors are warned in the opening section that Los Angeles is a prime destination for budget-travelers). The descriptions of the restaurants and hotels are personable and often include shout-outs to the owners, if they made impressions on the authors. There are also suggestions for shopping, and the authors make sure that out-of-the-way and unique shops get mentions as well (you can dress up like a storm trooper or a Klingon after a spree at It’s a Wrap – a shop that sells wardrobe castoffs from TV and movie studios).

Gay and lesbian travelers can also use this book as a resource – though the information is pretty limited and there are loads of books that cater specifically to LGBT travelers. Still, there is a good amount of information about gay-friendly areas and businesses. As expected with the limited amount of space devoted to the subject, most of the information is not really all that new (West Hollywood is gay? You’re kidding).

Traveling to California, of course, includes trips to the beach – the authors realize that the water would be a major spot for vacationers and do an excellent job in this respect. Beaches are well described, and activities (such as surfing and fishing) are highlighted in specific beaches that are best suited. Also, for surfing virgins, various surfing-lessons are listed, with prices.

A trip to California can be daunting to plan when faced with all that there is to do. Lonely Planet has mapped out all there is to do in Los Angeles and surrounding Southern California in an easy-to-read guidebook, which lets readers plan out their own itineraries. The sights are carefully separated according to location – so that when planning a trip, it’s easy to check-off what you’re going to visit. Major sights, such as Disneyland, get an exhaustive description and helpful tips (pricing, lodging, and eating). For more adventurous travelers, there are great points to visit as well. That this guidebook is very versatile isn’t a surprise when looking at other excellent entries in the Lonely Planet’s library.

Written by: Peter Piatkowski, May 13th 2008

Hard Candy

admin — Mon, 12 May 2008 23:57:00 +0000

By Madonna

WEA/Reprise

The great thing about following Madonna’s musical career is to see just exactly what sort of musical guise she’s going to adopt next. She’s always been heralded for her chameleon-like ability to change her image, but she’s equally restless with her musical style, letting her brand of dance-pop change along with her image.

Her latest, her last for long-time label Warner Brothers, before her switch over to the record-breaking deal she inked with Live Nation, Hard Candy _partners Madonna with some of the best urban-pop producers working today. The last time she embraced her R&B roots was 1994’s _Bedtime Stories, where she hooked up with Babyface, Nellee Hooper, and Dallas Austin. This time she’s teaming up with Timbaland, Pharrell Williams, and Justin Timberlake. Like with her last album, Confessions on a Dance Floor, this is a non-stop dance record without any ballads. Also like that chart-topper, this album continues Madonna’s reign as pop queen.

Timbaland’s gaudy, overly-produced sound works very well with Madonna’s pop smarts. She’s never been a genuine musical talent; instead she thrives when the music she’s performing is expensively produced. Timbaland’s patented honking synths, blaring horns, and off-kilter beats are all in display. It’s a testament to Madonna’s star power, musical ability (typical for the singer, she had a hand in crafting all the tracks on the record), and personality that she doesn’t come of merely as a cipher (Timbaland’s productions for Nelly Furtado and Justin Timberlake tend to blend the performers out).

The album’s opener, “Candy Shop” sets the sonic tone for the album. Pharrell Williams provides catchy beats, purring bass and moaning synths; the lyrics are nonsensical, but then again, Madonna never was Joni Mitchell, and she shone best when she was allowed to sing sound bites. “4 Minutes” is the album’s first single (already a top 5 hit in the US, and a chart-topper in the UK) and is a typical Timberlake-Timbaland collaboration: blaring horns, marching band percussion, Timbaland’s chiming and Timberlake’s nervous, edgy singing. Madonna overshadows Timberlake (not with vocal power, but with attitude); she plays the sexy cougar to Timberlake’s slightly overawed boytoy.

Madonna’s interest in sex has been rather dormant for a bit (she indulged in spirituality), and she kind of revels in the sort of ironic smutty sexuality she was damned for. “Give It 2 Me” is the sort of song she produced in the 1980s that landed her on Tipper Gore’s pop hit list. It’s got a dirty, 1980s porn beat, with a see-saw beat; it’s unashamedly ugly and extremely clever.

Madonna’s fondness for 1980s nostalgia finds its way to other tracks that boast loud, sparkly synths. “Heartbeat” with its swoony chorus and lyrics that celebrate the importance of dancing (she has a history of songs that praise dancing: “Get Into the Groove,” “Vogue,” “Don’t Stop,” “Jump”). “Dance 2Night, which seems to borrow from David Bowie’s “Let’s Dance” as well as every Prince song, is another tight-fisted funk number, which like “Give It 2 Me” revels in a sort of dirty, smarmy sex-pot beat.

“Miles Away” is one of the few spots on the album that Madonna tries for some lyrical depth – writing about her husband, British director Guy Richie. Far from being sappy and sacharine, it’s a great song about how their love endures, despite travel demands that separate the two. It’s a gentle nod to the new romantic synth pop bands of the 1980s like New Order, Depeche Mode, and Duran Duran, who crooned about the pitfalls of love over swirling synthesizers and drum machines. Despite her musical limitations, Madonna has always been able to write humane and touching records and this song just confirms that fact.

“Beat Goes On” (not a cover of the Sonny & Cher hit) is a great disco number with a great dance beat and twirling chimes, and maintains its excellence despite a tired cameo by Kanye West who simply rehashes his self-congradulatory theme. “Spanish Lesson” is another nod toward Madonna’s mild obsession with all things Latin (“La Isla Bonita”), and it’s really the only the song on the record that doesn’t pass the musterd.

The record ends on two moody notes: “Devil Wouldn’t Recognize You” and “Voices.” The former is a dark, dramatic pop number that casts Madonna in a very credible performance as an R&B chanteause, spitting her breakneck paced lyrics over a 2-step beat. “Voices” another Timberlake/Madonna collaboration isn’t as fun as “4 Minutes” but still maintains the fresh sound Timberlake and (mostly) Timbaland has created for her.

Hard Candy is probably the best dance-pop record of the year, so far. Both Janet Jackson and Mariah Carey released decent albums as well, though Madonna’s is far more ambitious sonically. While her peers play it safe, Madonna has always been ready to risk (this sort of confidence also comes from years of selling millions of records). This isn’t the best Madonna record (Like a Prayer, Ray of Light, and Music vie for that title); the lyrics – the singer’s weakest point – are still trite; and though the record’s crammed with dance beats, it would’ve been nice for Madonna to record a nice, classy ballad. Still a veteran like Madonna would be forgiven if she lolled about on her laurels. The fact that she’s still making great, exciting music is thrilling.

Written by: Peter Piatkowski, May 12th 2008

Remixed and Reimagined

admin — Wed, 29 Aug 2007 11:36:00 +0000

By Billie Holiday

Legacy

Billie Holiday has been lauded along with Joni Mitchell, Judy Garland, and Aretha Franklin as one of the greatest female artists of the 20th Century. The appeal of Holiday was her pained and pinched vocals; she did not have a pretty voice, and the biggest part of her appeal laid in the rough edges of her whiskey-sour pipes.

Because one listens to Billie Holiday for emotional truth, it is a little disconcerting to think of Billie Holiday dance music. One needn’t worry, this album is not the kitschy mess of Ethel Merman’s disco record, nor is it a queerly camp album - like Liza Minnelli’s dance album with the Pet Shop Boys. Instead, the album is a collection of ultra-cool remixes of Holiday classics.

If listeners have a hard time imagining Holiday’s earthy vocals couched in plush dance music, they’d be right; logic would dictate that an artist as gritty and real as Holiday would not fare well in a soundscape of synthesizers. The remixes that work best are not the ones that try to reinvent Billie Holiday as a dance diva, but the ones that attempt to reinterpret her tunes. While Tony Humphries’ vision of “But Beautiful” is sonically awesome, Holiday’s singing suffers in the dub-treatment. Better songs are “Summertime” and “He Ain’t Got Rhythm” that pull off the difficult task of placing Billie Holiday on the dance floor without making it a mess. For the most part the album works because the music covered is the rawer kind that finds itself in the headphones of urbane hipsters.

Written by: Peter Piatkowski, August 29th 2007

Franchise Player 02

admin — Tue, 22 May 2007 02:15:00 +0000

By Joey Youngman

Franchise Player

Joey Youngman’s Franchise Player 02 is an excellent collection of dance songs marketed for sophisticated urban hipsters, who prefer their dance music steeped in brainy jazz music. The album’s short 16 songs blend into each other, creating a cohesive and nonstop celebration that rarely hits any emotional or sonic crescendos; instead the songs provide a consistent level of sound and beats that provide a fascinating, if an aloof listen.

The album opens with Mils Maeda’s “Lovely Daye” (Greenkeeps 205 Mix), and the song sets the tone of the album, with its dropped horn samples (popping in to accentuate a particular riff or an intricate sequence of beats). Raw Instinct “Grande de Follie” (DJ Gregory’s Main Club Mix) continues the midnight mix feel, adding a lounge feel with murmuring French voices (bringing Serge Gainsbourg’s sensual music to mind), and also including the sampled jazz voices, as well as electronically blanched voices that act like synths, competing with the electric pops and whistles.

Many of the songs recall early 1990’s house music with keyboard, organ or piano riffs springing in between the jungle beats. Jay-Jays & Miguel Mig’s “Rock the Spot” and Bobby and Klein’s “Café Filtre” both pull in elements of house music mainstays including the chiming organs and like-clockwork beats, and “Café Filtre” climaxes with an audience’s ovation. These songs and Bryan Jones’ “Vibe Like Tonight” aren’t terribly mainstream, but they do sound like what C&C Music Factory would’ve crafted if they had been edgier and more creative.

While the songs benefit from their aloofness, there is a much-needed shot of emotion from Jasper Street Co. “Lift Every Voice” (Mousse T. Uplifting Dub); just as the subtitle suggests the song is a moving number with wonderful soul wails by sweet-voiced gospel shouters. The song is a gospel hymn that takes the club to the church.

The other track that follows in the theme of humanity is Troydon’s “City Slummin’” (Johnny Fiasco’s Byrd Word Mix) which samples the Temptation’s classic “Cloud Nine.” The song is removed from its Motown context and cushioned in the squealing electronic setting, removing the original grittiness and replacing it with the glossy shiny technological sheen. The only reminder of the song’s socially conscious origins is the plaintive warbling, “I was born and raised in the slums of the city,” though this isn’t a call-to-arms because any of the emotional oomph is rubbed out by the abbreviation of the singing.

The rest of the album slinks back into sexy, slinky dance music for the nightclub. The atmosphere is chilly and detached and more acknowledgements are made to the influence of jazz in hip-hop and house, most notably in Alan Barratt’s My Kinda Music” (Inland Knights Remix) and the KenLou3 track “Moonshine.” Things take a brief return to the ebullient with Bryan Jones’ “Groove Foundation” that includes a back-up chorus of divas, before the album slithers into a close with more reserved material, capping off with Demon Ritchie’s “Only in New York” which boasts electronically-manipulated choruses that shimmer like sonic liquid. A stylish and arch collection that would be the perfect soundtrack for any nightclub, lounge or runway show.

Written by: Peter Piatkowski, May 21st 2007

Downside Up

admin — Sat, 12 May 2007 22:45:00 +0000

By Alison Ray

Alison Ray’s debut, Downside Up is obviously influenced by Melissa Etheridge and Sheryl Crow. Besides the bland production, Ray’s voice is problematic: while it may be charming, it sounds terribly unripe – imagine if Paula Abdul got her hands on Sheryl Crow’s backing tapes.

The best songs on the album are the ones that take advantage of her thin vocals. The album’s first single, “Does the D.J. Know” is a decent, catchy song about a lost love that the singer is constantly reminded of when she hears a song on the radio.

Better is the lovely “What If I,” a pretty song reassuring a lover that she won’t hurt him. The song offers Ray a chance to shine, as she sings clever, hypothetical questions to assuage her boyfriend: “What if I came here like an angel; what if I were your destiny?”

Also enjoyable is “Change Is Coming Soon,” a song revisiting the theme of failed relationships, though this one benefits from some clever imagery (comparing the singer’s bruised psyche with an urban landscape).

The worst songs on Downside Up are cookie cutter adult pop. It’s as if producer, Marc Tanner, used a template to craft the tracks: a moody first verse; a crashing chorus, complete with walls of guitars, strings and whatever other noises he’s managed to fit; a guitar solo that recall early '90s rock ballads; and finally, a return to the wailing chorus. The songs follow this structure, with surprising rigidity, and though the intent is consistency, the result is monotony. The music sounds like competent session work. If Ray wants to succeed, she needs to find herself. Judging from Downside Up, she’s still searching.

Written by: Peter Piatkowski, May 12th 2007

Franchise Player 01

admin — Tue, 27 Mar 2007 20:47:00 +0000

By JT Donaldson

Dance music, by definition, is meant for dance floors, but it would be mistake to assume that dance artists are lazy or unskilled. JT Donaldson is known as an important house music producer and remixer who not only creates music that is enjoyable to dance to, but also is compelling and aesthetically intriguing. The work of dance music producers often is undervalued because they are lumped in with disposable genres, like disco or dance-pop, but Donaldson deserves the acclaim he’s garnered for his work. Like luminaries such as Junior Vasquez, Frankie Knuckles and DJ Irene, Donaldson has amassed an impressive oeuvre of intelligent and original dance music.

Franchise Player 01 is an excellent collection of seemingly conflicting and clashing sounds that manage to mesh, united under the thumping bass of the tracks. Those expecting wailing divas will be sorely disappointed, as this collection of dance music is definitely more underground than the radio-friendly mixes of Deborah Cox or Kim English. This music is more akin to Massive Attack or Fatboy Slim. The opening track is a Yoruba Soul remix of UK artist Ben Westbeech’s “So Good Today.” The song expertly blends Westbeech’s soul-inflected vocals (think a more credible Justin Timberlake) with gurgling synths. Rhythm & Sound’s “Freedom for All (Soundstream Remix)” is reminiscent of the more mainstream drum ‘n bass outfit Faithless, with its understated, muted vocals. The most accessible and closest pop song on the radio is the head rush of a club stomper, “Space Cadillac (Derrick Carter Club Vocal),” which uses the sexual double entendre imagery of a car similar to Grace Jones’ dance staple “Pull Up to the Bumper.” The vocals are more energetic than most of the other songs on the record.

The album closes with a trio of songs credited to Donaldson. “Just Bounce” starts off with a classy, jazz introduction before the sounds melt into a thumping dance beat with voices chanting over the drums, telling the listeners to “just bounce,” while horns accent the song. “Stop,” a collaboration with Fred Everything is a rushing club number, appropriate for catwalks with its stately and strident beat and chiming keyboard and samples of voices. The album closes with “Gone,” a song credited to Donaldson and Four Feet; it is a high energy throw down that’s sprinkled with snare drums, squealing synths and disembodied voices droning in sampled snatches.

Written by: Peter Piatkowski, March 27th 2007