adult contemporary

Conviction

admin — Sat, 15 May 2010 00:00:00 +0000

As a Southern woman, I've been told from birth that if you don't have anything nice to say, don't say anything at all. It's a mentality borne from equal parts charm and suppression, and one that is kind of antithetical to the whole business of review writing. In this case, though, I had to find the nicest thing to say about Massachusetts teen talent Kate Cameron and her debut seven-track EP, Conviction. Otherwise, I would have ended up with an empty review. So, in the name of graciousness and good manners, I finally came up with something.

Cameron seems like a perfectly nice young woman—and therein lies a turn of phrase as loaded as the Chinese curse, “May you live in interesting times.” Whatever their medium, no artist wants to be characterized in such bland terms right out of the gate. They would prefer to be spoken of as distinct, at least, if not as making some viable contribution to their chosen art form. But bless her sweet little heart, Kate Cameron's just not much to write home about—at least not yet.

On MySpace, Cameron lists as her influences a collection of radio-friendly adult contemporary artists from the last fifteen years or so, including Michelle Branch, Joss Stone, Colbie Caillat, and Alicia Keys. That list is a pretty good clue as to what the listener is in for with Conviction. While she shows a great deal of potential as a songwriter, Cameron's lyrics can veer from clever to hokey in a heartbeat. Plus, her developing voice, although decent, still sounds awkward, going out of tune when high notes or any kind of complex vocal gymnastics come into play.

A surefire way to render your song irrelevant is to link it to some topical or temporal event. This turns out to be the biggest mistake in “Big Star.” The song starts off fine, maybe a little generic, but then takes a turn for the worse somewhere around the bridge, where the adolescent artist trots out these ridiculous lyrics: “I'm gonna be a big star/just wait and see/the second I turn eighteen/I'm packing up and leaving.” I will admit, there's something to be said for confidence; however, there's also something to be said for not stamping your opening track with a very limited shelf life.

As an extended metaphor, “The Sun” redeems Cameron with its undeniable charm. “Words I Could Never Say” vacillates between moments of real passion and phoned-in (or even feigned) emotion. “All That You Are” is hammy, overwrought, wannabe radio schlock.

Maybe it's not her fault. The production quality is mediocre at best. The tracks echo and sound tinny even in good headphones, indicating that Cameron either recorded the album in a third-rate studio with poor soundproofing, that her album was engineered by someone with a weak ear, or both. Still, Conviction seems less like a polished sampling of Cameron's finest, and more like a demo reel tossed together at the last minute. With any luck, her music will improve and this release will be relegated to history—or see its tracks re-recorded in better studios with more proficient technicians at the soundboards.

Written by: M. Brianna Stallings, May 14th 2010

10,000 Things

admin — Sat, 16 Jan 2010 01:00:00 +0000

By Christen Grey and the Moving Dunes

Divalicious

I'm always inspired when I discover artists who are truly enthusiastic about their craft. There's charm in simple vocals and guitar; bare, clean, down-to-earth. However, nothing beats meeting a chef with her arms buried in dough while countless pans simmer on the stove. Christen Grey is no exception. On her latest album, 10,000 Things, she performs the following: vocals, lead and rhythm guitars, acoustic guitars, slide guitar, piano, dulcimer, mandolin, synth keyboard, harmonica, tambourine, shakers, and samples. Christen composed all of the music and wrote all the lyrics. She also slices, dices, and makes curly fries!

I'm also excited to mention that band member Camilla Bustamante plays the mouth harp on one of the tracks. I've had a crush on the mouth harp since I saw the equally crush-worthy Buffy Saint Marie play it on Sesame Street. Christen Grey and the Moving Dunes deliver feel-good, soothing folk-y rock that flows easily. I would best describe Christen Grey and the Moving Dunes as: adult contemporary with pop overtones and folk rock roots. Her voice greatly reminds me of Melissa Etheridge, or perhaps Pat Benatar with a slight twang. The band's track "I Want The World" would be a very welcome addition to any adult contemporary radio station's playlist. Their track "So Much Better" has grown on me, in the same way that Shawn Colvin's "Sonny Came Home" did back in the much-missed days of Lilith Fair.

10,000 Things is a flawless collection, created by people who make performing seem a lot easier than it actually is. Music seems like a second language to Christen Grey, or perhaps, her first. Though Grey and her band are a troupe of talented musicians, I prefer my folk rock to be shaken; not stirred. This album would be a good gift for the baby boomer that has everything.

Written by: Jacquie Piasta, January 15th 2010

Songs from the Heart

admin — Wed, 08 Jul 2009 23:52:00 +0000

By Sylvia Bennett –

Out of Sight Music, Inc.

I’ve listened to Songs From The Heart a number of times now since first receiving it in the mail. Each time I listen, I find myself immediately pulled into the lyrics and Bennett’s smooth and jazzy interpretations of songs like “Someone to Watch Over me” and “As Time Goes By.”When I was a lot younger, I used to think of vocalists like Bennett as creating music for “older” people, but as the years go by, I find myself more and more drawn to jazz in its myriad forms—is there a connection here?

Years ago, my voice teacher assigned the song “My Funny Valentine” to me and I remember her telling me that I hadn’t lived enough to really sing the song with the emotional conviction that was needed. “You’ll understand when you’re a bit older and you’ve really been in love,” she reassured me. I remember feeling annoyed at the time that she had assigned a song that was outside my emotional range. When I heard Bennett’s interpretation of “My Funny Valentine” on this album I finally got it. “That’s what she was talking about all those years ago,” I thought to myself.

Every time I hear Bennett sing the lyrics to “Someone to Watch Over Me,” I can’t help wondering if that song would have been written today. The idea of needing someone to watch over me sounds both comforting and somewhat creepy to me, but Bennett manages to make each of these classics her own, which is no small feat. My favorite song on Songs From The Heart is “As Time Goes By.” As I listen to Bennett, I can almost imagine myself in Casablanca with Humphrey Bogart and Ingrid Bergman listening to Sam the piano guy tickling the ivories.

Written by: Gita Tewari, July 8th 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

From the Heart

admin — Sat, 02 May 2009 22:59:00 +0000

By The Isley Brothers

Legacy Recordings

The Isley Brothers have been making fantastic and varied music since the 1950s, or as their DefJam website says, creating “Baby Makin’ Music.” Personally, I would prefer listening to From The Heart with a glass of wine while chopping vegetables, making dinner rather than babies. But that’s just me.

Considering the pervasive presence of The Isley Brothers in American music, especially funk, rock and roll, and R&B, it would be difficult to not recognize the rhythm and high melodic voice of the Isleys. From The Heart is mellow, a far cry from “Shout” or “Fight the Power,” but more like “This Old Heart of Mine.”

Don’t slip this disc into the player expecting the rock and roll of the sixties, or the funk of the eighties. One might categorize it as adult contemporary. These reissued songs are all love songs, hence the title From The Heart (which seems to be a frequently used album title in the music industry, from Billie Holiday to Dolly Parton).

Several of the songs on this album are truly fun. I like “Choosey Lover,” and the cover of Bob Dylan’s “Lay Lady Lay” is beautiful. Some of the songs’ lyrics are reminiscent of Teddy Pendergrass and Marvin Gay, but don’t quite work, such as in “Hello, It’s Me.” And if you’re looking for feminist lyrics, this isn’t the place.

The Isley Brothers are so important to American music, one can’t completely dismiss anything they do. These men have influenced so many contemporary artists, as well as musical genres overall. “Lay Lady Lady” might just make this album worth your while, and will remind you of the place The Isley Brothers have in American culture. And not just as "baby makin' music."

Written by: Claire Burrows, May 2nd 2009

Optimism in E Minor

admin — Thu, 14 Jun 2007 22:52:00 +0000

By Broken Poets

Wordvendor Records

There is a reason I waited so long to review the Broken Poets’ most recent album, Optimism in E Minor. While the album offers a slightly less banal form of contemporary adult rock, its instrumentation and lyrics leave something to be desired.

As producer and front man of the band, Tim McDonald seems to have forgotten the beauty of simplicity. The songs are lyric-centric, but instead of poetry, the lyrics I hear are affected and hollow. Unfortunately, even the instrumentation is excessive and gratuitous. The few characteristics which distinguish the Broken Poets from all the other commercial contemporary rock bands are sadly drowned out by McDonald’s overbearing presence on this album. I had hoped to hear more from classically trained pianist and vocalist Svetlana Antropova, but her potentially unique contribution is for the most part, misapplied and wasted. While contemporary adult rock is certainly not my cup of tea, I could see how listeners of this genre might enjoy Optimism in E minor. However, I hope they would recognize the ostentatious nature of this album.

Written by: Sofia Marin, June 14th 2007