CD
SPINS
by Staff
BECK
Guero
(Interscope)
Critics are raving
about Beck’s latest album, Guero, and rightfully so.
It’s been about three
years since his last release, leaving fans of the musical guru wondering
just when he was planning to unveil more works of art. The wait is
over; 2005 is the year of Beck.
I’m
embarrassed to say that I missed out on the Beck frenzy over the past
decade or so. I was in high school and an avid fan of R&B (believe it
or not…) at the time the gangly white guy was topping the charts with
hits like “Loser” and “New Pollution”. For years I heard
about what a musical mastermind this Beck guy was, but I just didn’t get
it.
Didn’t he win… oh,
about three Grammy’s or something like that too? Ten or so years later,
it’s finally sunk in.
Guero
is one of those rare albums that appeals to the masses. Quirky but
melodic, you’ll laugh, dance and relax, all to the same album.
The hit radio single,
“E-Pro” sets the tone for the CD, reeling the listener in with a
funky vibe. “Que’ Onda Guero” is a head-bopping, booty shaking
Latin-influenced number that serves as the album’s “sticky track” (stuck
in your head for hours). “Missing” is a haunting, melodic track
shadowed by an entrancing drumbeat.
And then there’s my
personal favorite, “Scarecrow”, an upbeat tune with interesting
vocal distortions.
The rest of the album
is just as intriguing; its essentially a musical roller coaster,
journeying the listener through a variety of moods. With Guero,
Beck took the best elements of his prior releases (the goofy lyrics, the
bizarre stage presence, unique sound effects, experimental themes…) and
expounded on them to create an album that practically screams Grammy.
Some good ol’
white-boy rapping, a little Latin flair and bizarre lyrics about the
vegetable man in the vegetable van (huh?) can only demonstrate a bit of
the creative ingenuity of the man that is Beck.
He’s come a long way
from “Two Turntables and a Microphone”- Guero
really is “Where It’s At”.
– Corine Jurgerson
CHAINSAW DUPONT
Bourbon Street
Breakdown
(Blues Warrior)
Chainsaw Dupont’s
Bourbon Street Breakdown, is a worthy follow-up to his 2003
Lake St. Lullaby: An Unfinished Blues Opera.
This CD showcases a
strong blues musician who is equally at home with Southside, Westside or
Big Easy blues.
He’s added accordion
(Guy Lawrence), horns (John McGahan on trombone, Nick Drozdoff on
trumpet, Mike Finerty on sax and clarinet) and electric violin (Inna
Morris Melnikov), and the results bridge the best of both blues
worlds.
“You Think Too Much”
and “Six Dollar Ticket” are pure Rue Bourbon, and the cheery mix
of clarinet, horns and late-night Crescent City barroom feel of “Give
An Inch” is a perfect backdrop for Peaches Station’s star turn on
vocals.
Peaches is one of
Chicago’s “Leading Ladies of the Blues,” and is a regular at Sopro
Productions’ Easter and Thanksgiving Blues Revues, but don’t wait ‘til
the next holiday to catch this talented and diverse vocalist.
Bourbon St. Breakdown
is very different from Lake St. Lullaby: An Unfinished Blues
Opera. They both highlight Chainsaw Dupont’s command of the
blues, but more importantly, it shows that he’s up for taking calculated
musical risks.
There’s a lot of
urban blues on this CD, but I like the way Chainsaw leads us down to New
Orleans and dabbles close to jazz on “Last Chance Lounge.”
There are many
surprises here, including some unlisted cuts. Producers Steve Pasek and
Arlo Alexis have raised the bar for local musicians by having an
information-rich Enhanced CD to introduce Chainsaw Dupont to a wider
audience. Click to
www.chainsawdupont.com
– Eric Steiner
COLDPLAY
X&Y
(Capitol)
The long awaited
follow-up to their smash A Rush of Blood to the Head,
Coldplay’s X&Y at first was disappointing. It sounded as
if the songs all ran together.
After persevering
through several listens, I came to appreciate it for what it is –– not a
repeat of their previous efforts. This CD is an exercise in writing
from the heart and avoiding the temptation to write to the industry’s
expectations and not for themselves.
The lead track,
“Square One”, offers an ease into the material giving way to a
powerful exchange of the rhythm section and the intricate guitar
tapestry. Reminiscent of mid-career U2 (Unforgettable Fire,
Joshua Tree), this is a standout tune.
“Fix You”
swells with lush harmonies uplifting to a great climax. It is a personal
and intimate offer to throw out a helping hand. Martin’s voice never
sounded better.
The
title track veers into Beatle-land with orchestrations adding splashes
of color. The straining guitar and piano create the necessary tension to
keep everything together as the song floats off into a dreamy, trance.
I found the current
radio hit, “Speed of Sound”, to be one of weakest cuts on the
CD. Mid-Tempo and a trudging vocal looses itself in a wash of string
synths and atmosphere.
“Swallowed by the
Sea”
features a slow buildup with fantastic Ebow driven guitar work.
Martin’s voice is again most effective here.
The CD ends with
“Till Kingdom Come”, written for the late great Johnny Cash who
passed away before he could record the song.
Kudos to the band for
not churning out the same old pap while making this release, while at
the same time retaining their signature sounds and hooks.
www.coldplay.com
– Jon Rice
CANDLEMASS
Candlemass
(Nuclear Blast)
The 11th recording
from the Black Sabbath/Trouble inspired Swedish band, is just too sweet,
especially because the classic line-up is reunited.
The chemistry is
better than ever and it would have to be, recording this entire disc in
just 10 days, at Stockholm’s famous Polar Studio.
Candlemass has never
had to resort to, too much hype as the music stands on it’s own and is
revered worldwide, by the metal freaks.
There isn’t a bad
song to be found and frankly you couldn’t, even if you weren’t a fan.
You can’t help get sucked in by the first song, “Black Dwarf”.
“Copernicus” is an ode to Black Sabbath and you won’t mistake that
fact.
Doom and more doom,
from Candlemass for 20 years and counting. They just don’t raise the bar
they are the bar!
Candlemass riffs are
precise and deliberate with the booming drumming, are a totally
captivating package that will haunt you for a long while. The gravely
dark approach is always welcome and inviting.
Doom lovers need to
compliment their CD collection with this CD, no doubt about it!!
– Diane Demeter
NOMAD PLANETS
Edge Of Time
(Swallowing Time)
Nomad Planets’ first
outing, The Indestructible Drop, only hinted at the
possibilities fully realized on Edge of Time and it was
well worth the wait.
The way
this Northwest Indiana band allows the song to breathe, makes for an
unblemished, warm ambiance that supplements Nomad’s verse-chorus-verse
tendencies.
They don’t allow one
instrument to dominate the mix in order to compensate for a weakness.
Every component is fully realized, radiating buoyancy that is as
infectious as anything that gets mainstream radio play.
The
title track is one of many that showcase their forte to construct a
memorable pop melody. There are even some surprises along the way such
as the bossa nova backbeat and the occasional dash of horns.
There are interesting
elements throughout, including the occasional upfront fretless bass
supplied by Phil Rapchak.
Even
more striking is the sedating solo string arrangement of Poi Dog
Pondering cellist Alison Chesley during the unadorned folk number,
“Save Me,” a song that is entirely stripped of a backing band,
making it stand out alongside the more unabashed rock-out tracks.
Chesley subtly harmonizes with the spare acoustic backdrop augmenting
the authentic intimacy of lead singer Mark Mybeck’s delivery.
Mybeck
has a sly baritone that often is evocative of Jay Ferrar of Son Volt.
The potency shines through most noticeably when he bares his
dissatisfaction with the current state of affairs in a song like “My
Own Worst Enemy.” The band manages to achieve a rare poignancy
composed of rage that is surprisingly devoid of screams, assembling a
reflective tone instead of an aggressive one.
“Devil In Between”
is ideal for modern rock radio, akin to the best work of Matthew Sweet’s
career. “Devil” aptly constructs its chorus around metaphors
regarding love’s viable dichotomy, with the object of affection often
balance-beaming between angel and devil.
The beautifully
sparse “Oklahoma Girl” is a bittersweet reworking of REM’s
“Sweetness Follows” with welcome splashes of suitable mandolin and
female backing vocals by Cath Carroll.
The
band’s only misstep comes late in the game, as the bounce-happy
“Charge of The Light Brigade” disrupts the flow. It’s a bit too
quirky in execution with its up-up-up slap-happy tempo, making it stick
out like a sore toe.
Those craving an
old-fashioned course of Americana folk rock will find Edge Of Time
is one of the most sincere and amicable examples
– James Laczkowski
THE STARTING LINE
Based On A True
Story
(Drive-Thru/Geffen)
Unlike several of the
other highly-anticipated album releases that caused frenzy in record
stores across America in May, Based On A True Story failed
to capture my interest.
It’s not that the
band isn’t talented. Their last album, Say It Like You Mean It,
sold over 300,000 copies within its first year of being released. The
album was also full of energy and fun hooks, which really made it
enjoyable.
And
although Based On A True Story debuted as one of the Top
20 albums on the Billboard Album Chart, its rank is quickly slipping.
One reason may be
that it seems this album lacks the energy and captivating musical themes
that once made The Starting Line such a guilty pleasure.
The
band has obviously matured – but their signature sound seems to have
changed and this may alienate seasoned fans.
Call it going through
musical puberty. The once punky, pop-charged tunes seem to have
flattened. The lyrics are still decent, although a little odd at
times. (Case in point – the song “Bedroom Talk” has a chorus
that reads: “I’m gonna tear your ass up like we just got married/ And
you’re all mine now/ Tonight is the night we’ve been waiting for all our
lives or maybe just for tonight.”
I’m still trying to
figure out how I feel about singing along to this one out loud…)
Other noteworthy
tunes that may stick in your head are “Autography”, “Surprise,
Surprise” and “Cut! Print It”. These three songs have catchy
choruses and some solid harmonies.
Overall, I expected a bit more. Right now I’ll give it a rating of 6
out of 10, with hopes that it will grow on me with each play. And
hopefully not like a fungus.
– Corine Jurgerson
VARIOUS ARTISTS
CPR Vol. II
(Threshing
Floor/Righteous Sinner)
CPR is an acronym for
Christian Progressive Rock. The project is a compilation of progressive
rock artists that are Christians.
I have
come to know this community of CPR quite well as they all congregate
through several Internet sources.
The CD
opens with a “bursting at the seams” instrumental by Dave Bainbridge
called “Over the Waters”. A lush backdrop underscores beautiful
and melodic guitar-work the soars. Dave is the strings man in the
inspirational CPR band IONA. This cut has a non-lyrical vocal that
gives a slight nod to Jon Anderson of Yes.
Things get
considerably heavier with the next track. Orphan Project’s “Orphan
Found”, is a powerful tune with crafty arrangements and soulful
vocals. A Kansas influence is heard as the violin interlude sweeps
through the middle of the piece.
“Significance” by
Jazz/Prog rockers Simon Apple takes the CD on a very sharp turn with a
funky, jazzy and pop tune that moves. The guitar solo from Jeff Miller
is one the best I have heard in years. A very tight and precise band
sure to go far in this genre.
Seminal
prog-rock icon Neal Morse (Spock’s Beard) and his band of merry men ––
Randy George (Ajalon), Mike Portnoy (Dream Theater), and Phil Keaggy
(Glass Harp) –– offer up “Reunion,” a wonderful tale of the reuniting of
Adam and Eve. Fantastic “Got To Get You Into My Life”-sounding
horns and a rock opera like interlude make this a standout.
One of
my favorites is Young Earth’s “One True God,” the album’s
“rocker”. This tune has a chorus that gets into your brain and doesn’t
let go. Keys and guitar, harmonies, tasty bridge, it’s all here.
The CD ends with Bill
Hubauer’s CPR take on Johnny Nash’s “I Can See Clearly Now”.
Initially remaining true to the original spirit of the song, Hubauer
smacks right into this impressive and complex prog break.
The collection was
well produced by Randy George and Gene Crout.
CPR offers many
things: a sounding/proving ground for fresh new artists fleshing out
this new and exciting genre; a collective thread of common spirituality;
and a sampler for both old and new fans of progressive music.
In the midst of
inaccessible rap and hip-hop, abrasive and uninspired metal and pre-fab
pop, this CD is an oasis.
– Jon Rice
TESLA
Into The Now
(Label)
Yeah…this one has been out for some time now, but we just
landed a copy of it and it is too good to not sprinkle a little praise
upon for those folks you may not realize that Tesla is not only back out
touring, but also writing and recording some tasty tunes.
Tesla’s newest musical release titled Into the
Now is a stellar collection of newly written songs that will
definitely fit the bill for all of their fans, both past and present.
This collaboration was more than two years in the making,
culminating in 12 songs that are truly most excellent due to the
well-seasoned musicianship of this still all original lineup of vocalist
Jeff Keith, guitarist Frank Hannon, guitarist Tommy Skeoch, bass
guitarist Brian Wheat, and drummer Troy Luccketta.
Well established is this band’s style of hard rock. It’s
super tight and emotionally resonant, leading to tunes that are truly
way cool to apply to one’s senses.
The duo guitar assault of Frank Hannon and Tommy Skeoch
that has been so magical over all these years is still very much the
driving force of this group, unselfish and complementary of each other.
Vocalist Jeff Keith still has just what it takes to put
that emotional touch into every song, belting out his heart and soul
every step of the way, while anchoring the groove with his thunderous
bass licks is Brian Wheat, along with the master time keeper of
percussion, drummer Troy Luccketta.
Every song on this collection of new music is honestly
very, very good stuff. The song list includes “Into the Now”, “Look
@ Me”, “What a Shame”, “Heaven Nine Eleven”, “Words
Can’t Explain”, “Caught In a Dream”, “Miles Away”, “Mighty
Mouse”, “Got No Glory”, “Come to Me”, “Recognize”,
and “Only You”.
One song that really stands out is “Heaven Nine Eleven,
which was written to express what it was like to witness the tragedy of
Sept. 11th, 2001.
Over the past several years, the band members experienced
the loss of several close friends that dampened their spirits
considerably, but collectively they went through the pain together and
experienced much growth through the process.
The cohesiveness of this band from the very beginning
enabled them to regroup and put out a great bunch of songs. If you
haven’t bought this CD yet, put it on your list, because you definitely
will not be disappointed.
– Jim Fox
THE WHITE STRIPES
Get Behind Me
Satan
(V2 Records)
Suffice to say,
everyone disagrees with me about Elephant being one of the
most overrated records ever.
Even though I could
go song by song why that record doesn’t hold up, I’m ready to move on
now.
I’ve
gone through the much-needed therapy after being diagnosed with
post-traumatic disappointment syndrome and I wanted to listen and “get
behind” their latest record with an objective viewpoint intact.
Luckily, they haven’t
let me down twice. Get Behind Me Satan is thankfully,
anything but a customary White Stripes record, but more like a bridging
transition from the sessions he did with Loretta Lynn (in addition to
his Cold Mountain contributions) along with the
piano-driven blues from earlier efforts.
It’s less of a
rock-out effort which may be off-putting for some, but for others a
welcome surprise.
First single,
“Blue Orchid”, would convince you otherwise, and despite it not
sonically sounding anything like they’ve done before, it’s almost a
calculating choice to put out as the lead for radio play.
If fans are expecting
each song to be as prominent and visceral as “Orchid,” they’ll be
immensely disappointed, because from the second song onward, it’s a
whole different animal.
It’s all over the
map, which for the Stripes is not a detriment but a blessing. They’ve
branched out beyond their limited instrumentation and opted to be
weirder and more soulful as a result.
“The Nurse”
has volcanic ear-shattering crashing chords underscored by twinkles of
Spanish-flavored marimba. The mandolin-laced yee-hah Americana romp of
“Little Ghost” precedes the walking-talking blues and Motown
texture of “The Denial Twist.” The wraith-like piano and calming
cymbals of “White Moon” is squeezed in next to the undersexed
electric blues scream of “Instinct Blues.”
Get Behind Me Satan is a whirlwind of music appreciation from all sides of the
fence.
Imprinted with an
extensive cornucopia of old-school Americana, the latest and second best
offering from the Stripes is not unlike a random playlist from the
O, Brother Where Art Thou soundtrack.
If critics put this
on their Top 10 lists this year, then I will have no quibble, even
though at times Jack is still using those same damn chords.
I guess
if The Ramones could get away with it, I can be forgiving this time.
– James Laczkowski
JANIVA MAGNESS
Bury Him At The
Crossroads
(Northern Blues
Records)
W.C. Handy
nominee Janiva Magness’ debut CD on Northern Blues, Bury Him at the
Crossroads, is a blues treasure from start to finish.
She earned the
respect of the nation’s blues community as she took home the hardware in
the “Contemporary Blues Female Artist of the Year” category at
this spring’s W. C. Handy Awards in Memphis.
Co-producer Colin
Linden sits in on guitar, and long-time collaborator Jeff Turmes plays
bass, sax and banjo, while Stephen Hodges is behind the drum kit.
Rounding out Janiva's studio band is Richard Bell, who is a piano and
Hammond B-3 genius.
I regularly
return to the slow and simmering blues of the title cut, but “Ain’t
Lost Nothin’” and “Eat the Lunch You Brought” certainly get
me up out of my easy chair, thank you very much.
Bury Him at
the Crossroads
is a fine blues record that showcases the exceptional pipes of one of
the finest blueswomen to pick up a microphone.
– Eric Steiner
AUDIOSLAVE
Out Of Exile
(Interscope)
 We
all want this to be an amazing band because the elements are all there.
Everything is in its right place.
Chris Cornell is
one of our best, most confident modern vocalists with a screeching howl
that is soothing as Buckley or piercing as Robert Plant.
Tom Morello is
one-part experimental craftsman akin to Robert Fripp, but can still
manage to trounce out a solo that is on par with Page.
And let’s face
it, the rest of the band is amazing at what they do too.
But expectations
manage to always surpass. I stand by my conviction in their strengths,
but when it all comes down to it, Audioslave are not listening to those
U.S. Army commercials: They are not all that they can be.
Their debut was a
middle-of-the-road rock record with good songs, nothing more. Not that
there is anything wrong with that.
Cornell belted,
Morello wailed, and the rest of the group backed them up with ease. The
same can be said about their second outing, Out Of Exile, which is both
frustrating and rewarding.
Many of the songs
sound like they’re just on the verge of achieving lift-off, never quite
reaching their potential. There are moments, usually arriving in the
latter half, where Audioslave unexpectedly, curiously clicks, sounding
more like a band and not a cross-marketer’s grand scheme to sell
records.
“Be Yourself” is as average as a rock song can get, and even Morello
sounds restrained, relying on sleepy chords instead of monster-riffs.
By the end of
hearing that track, it’s clear that this pairing was a clever idea, but
not necessarily an inspired one.
“#1 Zero” showcases what this band is truly capable of doing. It
makes you’d wish they’d opt for more over-the-top theatrics than
reserved radio-friendly singles like “Dandelion.”
“#1 Zero” in particular has a punch-to-the-gut symphonic culmination
encompassed by Cornell’s resilient, bluesy wail that ends on a high
note.
“Lord, I will keep you in the corner of my eye/I will be
the bird in your straw/But you won't get far/I will keep you in the
corner of my eye”,
sings Cornell and although he’s rarely constructed a lyrical phrase for
the history books, he’s never sounded more assured than during this
particular song. Ditto the band.
“Yesterday To Tomorrow” does differentiate itself with phat bass and a mix
of strummed 12-string acoustic and stuttering Strats. But far too
often, some songs sound like predictable retreads, i.e. “Drown Me
Slowly,” which sounds like an outtake from the first record.
It’s not that
Exile is a bad record, but it’s fairly humdrum from track one
onward and pales in comparison to inexperienced rock bands that are
doing more with the genre (Sleater-Kinney for example).
The repetitive
fluctuation of sounds goes back and forth ultimately satisfying fans of
both bands but bringing nothing new or exciting to the table. However
there is no denying the phenomenal talent on display here even if we all
know they are capable of so much more.
– James Laczkowski
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