MARCH CD SPINS
by Staff
ERIC MANTEL
The Unstruck Melody
(Holistic Music)
What a treasure trove of sounds! The Unstruck Melody,
the latest release from Chicago-based guitar wizard Eric Mantel,
demonstrates a musical maturity unseen in most “shredders.”
While many of his contemporaries may routinely attempt to
outdo each other with speed or flash, Eric pulls out the musical crown
jewels wielded only by a handful of players: Taste.
That’s not to say he can’t tear it up with the best of
them, however.
“Tribute,”
the disc’s lead-off track (after a radio-dial spinning sampler intro
which cleverly previews the entire disc), has Mantel flying fearlessly
along the fretboard, over pillars of solid rock, a touch of slide-work,
and a driving, inspired rhythm. And throughout the disc’s 20 tracks Eric
randomly proves that speed and flash are his to toy with at whim.
But it was never his intent to race with the devil; rather
to outsmart him at every turn. Brought up on jazz fusion pioneers such
as Allan Holdsworth and inspired by wicked session masters like Brent
Mason, Mantel has put in the requisite (thousands of) hours to master a
variety of musical styles and genres. Yet he’s filtered his influences
through a fine-tuned ear for pop rock; smooth jazz; sincere balladry;
and exotic, world-wise twists.
Throw in a bit of classical mood-setting and the fire of an
Are You Experienced moment, and The Unstruck Melody is the
gorgeous, sparkling - yes even deliciously tasty - result.
But the icing on the cake is not guitar related - though
there are enough rippin’ riffs to inspire any dedicated student of the
instrument. It is instead Mantel’s sweet songwriting skills which really
make The Unstruck Melody a must-have.
His craftsmanship shows itself particularly well on the
tracks “The Simple Things” and “Shine On.” Both are
joyous, optimistic pop candies which not only highlight great writing,
but solid vocal performances by Eric as well. Imagine that: a virtuoso
guitarist with the voice to match!
Unheard of.
Throughout the disc, Eric is ably backed and driven by
stellar drummer/producer Patrick Doody (who spent 10 years touring the
world with blues legend Lonnie Brooks), and a cast of Chicago
professionals on bass, keys, and background vocals. Eric himself covers
all electric and acoustic guitars, guitar synth, slide guitar, talk box,
E-bow, and the aforementioned lead vocals.
Mantel has the ability to write songs in the vein of The
Beatles, Todd Rundgren, Sting, Greg Lake, etc. The music and playing are
inspired and inspiring.
The bottom line is that Eric Mantel is simply a musical
phenomena. You’ve simply got to get this disc!
– Adam St. James
TRES CHICAS
Bloom, Red & The Ordinary Girl
(Yep Roc Records)
Tres Chicas’ follow up to their acclaimed Yep Roc debut in
2004, Sweetwater, is a dozen perfect songs that feature
magical three-part harmonies of Caitlin Cary, Tonya Lamm, and Lynn
Blakey.
Their musical resumes as members of other bands is
substantial, with Caitlin formerly with Whiskeytown, Tonya formerly with
Hazeldine, and Lynn with Glory Fountain.
The opening cut floats on Geraint Watkins’ keyboards and
Caitlin Cary’s violin with wistful and soft refrains. Matt Radford’s
bass and Robert Trehern’s drums are understated throughout, leaving Tres
Chicas to share guitar, vocal and violin parts.
Recorded last year at Goldtop Studio at London’s Chalk
Farm, the studio band also includes Watkins (Dave Edmunds), Michael
Winning (Van Morrison), Bill Kirchen (Commander Cody), and Nick Lowe.
Safe to say, it’s clear on Bloom, Red & the Ordinary
Girl, that these guys came to play. Tres Chicas’ harmonies float
in my memory long after the CD ends.
“Only Broken,”
offers many twists and turns, and the heartbreak of “Slip So Easily”
is drawn out elegantly by Caitlin’s violin and “If You Think It’s All
Right,” would be right at home at an Austin dancehall like The
Continental with BJ Cole’s pedal steel.
Keep up with what I hope and pray won’t be a mere side
project for these talented ladies at
www.treschicas.com
– Eric Steiner
JOURNEY
Generations
(Sanctuary Records)
Generations, the latest CD by popular arena rockers Journey, recently
graced store shelves and truly proves that this talented band can still
rock the house.
Teens and adults alike loved Journey when they were
churning out hits in the ‘70s and ‘80s, kids growing up in the ‘90s
adopted the ballad “Faithfully” as the favored prom/homecoming
anthem, and now, perhaps staying true to the album’s title,
Generations, a whole new generation of fans have the opportunity
to experience Journey’s music.
Thankfully, not much has changed about the sound of the
band. While many bands opt to go in a different direction after a lapse
in recording and the replacement of a key member, Journey keeps true to
the signature sound that allowed them to sell millions of records. Each
song still contains the same soaring vocals that we’ve all come to know
and love, backed by power chord driven guitars.
Even in 2006, Journey still perfects the ‘80s sound,
complete with campy keyboards. I can truly appreciate a band that is
consistent, even if their style doesn’t quite fit in with what is
popular by today’s standards.
The album is pretty much solid from front to back, opening
with the emotionally charged “Faith in the Heartland”. This
track really showcases Journey’s signature style and lets the listener
know upfront that the band hasn’t strayed from what they do best. “A
Better Life”, contains some beautifully harmonized choruses, and
once again, continues to develop that signature Journey sound within the
album.
“In Self-Defense”
may be the heaviest track on the album, and really makes its presence
known with its dramatic opening consisting of rippling guitar riffs.
The vocal ‘call backs’ are a bit corny and weigh the track down a bit,
but the song is able to redeem itself with more wonderful power chords.
Of course, no Journey album would be complete without a
power ballad, which brings us to the saccharin sweet “Knowing That
You Love Me”, the sole track with the power to crush “Faithfully”
on the prom charts. (Ah… well it was good while it lasted!)
By far the best track on the album is the bluesy, upbeat
“Gone Crazy”. This is definitely the breakthrough track on the
album with its swaggy guitar riffs really make this a fun, sassy song.
Overall, this is quite an enjoyable CD that brings about a
sound that allows seasoned fans to reminisce/reconnect with Journey’s
signature sound and will also inevitably attract new generations of
fans.
– Corine Jurgerson
SULLIVAN
Hey, I’m A Ghost
(Tooth & Nail
Records)
North Carolina has
seemingly become the breeding grounds for great music over the past few
years. Bands such as Codeseven, Beloved, and now Sullivan, are keeping
this statement true.
Sullivan’s new brand of rock brings a bit more style and
flavor to the Tooth & Nail roster. Hey, I’m a Ghost, the
band’s debut release, is chock full of rock ‘n’ roll fervor – a fresh
sound to ears that have been weighted down with the recent barrage of
pre-pubescent bands screaming incessantly about heartache and
melancholic, teenage drama.
There’s no doubt about the sincerity of this album and the
message that Sullivan has arrived and plans to stick around for quite
some time.
Sullivan is Brooks Paschal (vocals/guitar), Zack Harward
(bass), and Tyson Shipman (guitar/vocals) and Phil Chamberlain (drums),
formerly of the band This Runs Through.
The initial track on the new album, “Down Here, We All
Float”, hammers in with a tightly knit guitar and drum attack, only
to be graced with empowering bass and vocals as sweeping as that of
angels.
Sullivan shows great musical depth through songs such as,
“Gardens” and “Promise Me”, which showcase Paschal’s vocal
range as well as the band’s ability to lighten things up without losing
substance. “Insurance for the Weak” and “How I Remember You”,
prove that Sullivan’s rock roots don’t linger too far off the beaten
path.
The gem of the album is “The Charity of Saint Elizabeth”,
which starts off with the same angelic tone apparent on each track, only
to rip into a searing drumbeat laced with emphatic vocals and wailing
guitars, leaving you gasping for breath.
(This CD has the potential to kick-start the band’s career
with a bang. While it is not an epic album, it is definitely a promising
debut.
Hey, I’m A Ghost will put Sullivan on the map and attract attention.
A solid beginning for this talented new band.
– Chris Foss
B.B. KING
The Great B.B. King
(Ace Records)
London’s Ace Records
has released the ninth in a series of reissues from the Blues Boy’s
Crown Records back catalogue originally produced on vinyl from 1957 to
1963.
Duncan Cowell’s expert remastering is crisp and clear, with
no needle drops or tape hiss that has plagued similar documents of blues
history. The Great BB King features the original album’s
10 cuts with an additional eight songs.
Six of the bonus tracks have been previously unissued
out-takes, but the distinctly 50’s period pop of “Bim Bam” and
the down-home take of Lightning Hopkins’“Shotgun Blues” landed on
RPM Records in 1956 and the Kent label in 1969, respectively.
Listening to The Great BB King in light of
King’s 80th birthday, I marveled at how he confidently explored a
diverse range of material, and some of the songs sound like they were
begging for radio play – just listen to “Young Dreamers,” and
you’ll see it fit on playlists featuring Nat King Cole instead of
traditional blues.
This reissue is more than a snapshot of blues history; it’s
a refreshing blast of King’s early work that has served to cement the
bricks and mortar of the foundation that the King of the Blues has
built.
– Eric Steiner
DAVID GILMOUR
On A Lost Island
(Sony)
The new CD from David Gilmour, On An Island
is exactly the type of music that Pink Floyd and Gilmour fans have come
to expect – the vibe is spacey, moody, almost a new age feel.
Gilmour’s raspy and soulful vocals contain some of the best
material he’s written in years.
Collaborating with guitarist/ songwriter Phil Manzanera of
Roxy Music and veteran producer Chris Thomas (The Pretenders), Gilmour
has crafted a slick and trippy recording full of hazy guitar
instrumentals and vocal cuts that may not rock out the way Floyd fans
are used to but are still filled with grit and emotion.
On An Island features a wide variety of notable guest players (Floyd’s
Richard Wright, David Crosby and Graham Nash on backing vocals, Jools
Holland formerly of Squeeze, Robert Wyatt and – surprisingly –guitarist
Phil Manzanera playing keyboards).
The production by Gilmour, Manzanera and Thomas is very
tight providing the perfect sonic soundscapes for Gilmour to do what he
does best–play and sing.
The album does have some flaws, especially when it comes to
the placement of the songs, which is a bit turgid at times. It would
have helped to have a solid hard rock number here to break through the
haze on the album but overall it's a decent effort and a worthy follow
up to his work leading Floyd and solo efforts.
– Brian Pearson
STREAM OF PASSION
Embrace The Storm
(Inside Out)
Embrace The Storm is the sole creation (side project) of Arjen
Anthony Lucassen. (Ayreon). Drawing on the vocal talents of Marcella
Bovio, who creates a grand foundation and makes this album a Goth Metal
fans’ dream come true.
Musically the songs have plenty of punch and are very
atmospheric with taste full guitar solos and keys. Bovio reminds me a
lot of Anneke Van Giersbergen of The Gathering and Amy Lee of Evenesance.
With Lucassen involved, it is a given that the production
values should be and are exceptional. Not earth shattering but a
well-crafted, female fronted Goth Metal album.
– Thomas Castrovillo
CHRIS SPEDDING
Click Clack
(SPV Records)
Chris Spedding’s latest solo CD is a rock record that’s got
some blues, Gospel, jazz and country on it; befitting the diverse
musical career of one of Britain’s much sought-after session
guitarists.
Click Clack, released in August of 2005 on Germany’s SPV Recordings,
has some bright spots that attracted rock fans to British rock in the
‘70s. Spedding should know. He was there.
Chris has released over 14 albums since 1970 as a solo
artist or playing with friends. He’s played with John Cale, Jim Capaldi,
Robert Gordon, Donovan, Jack Bruce, and Ginger Baker, and has had
several greatest hits compilations out.
The driving, uptempo boogie of “Nobody” would be
right at home on any Rockpile record, and “Hear Your Daddy” could
just as easily have landed on a later Roxy Music or Bryan Ferry solo
album.
In fact, Ferry contributes a moving harp solo on “Hear
Your Daddy,” a song perfect for a long road trip with a deceptively
simple but effective bass foundation laid by Danny Thompson beneath
Chris’ strumming.
The CD leads off with “Hilife,” showing that
Spedding has kept his sound fresh, and Click Clack should create more
buzz for listeners interested in his considerable back catalogue and
musical history online at his Guitar Graffiti web site
www.chrisspedding.com, download the title tune at his label,
www.spv.de
– Eric Steiner
TOTO
Falling In Between
(Frontier Records)
With a resume including five Grammys, three Top 10 singles,
over 33 million albums sold worldwide and dozens of world tours,
legendary rock band Toto has returned with a new studio album,
Falling In Between, their 18th release and first studio
album since 1999’s Mindfields.
Falling In Between is a huge departure from their old radio friendly
classics, yet it still embodies their signature tight musicianship
sound.
“The new album is fresh, heavier, at times more progressive
and, of course, still with some great songs and melodies embodying the
classic Toto imprint,” says guitarist Steve Lukather.
The new recording also brings in new member and session
keyboard ace Greg Phillinganes as well as guests Ian Anderson from
Jethro Tull, Jimmy Pankow and Jason Scheff from Chicago, and vocals from
former TOTO lead singer Joseph Williams.
“We wanted to diversify and flex our muscles this time,”
says founding member David Paich. “The autonomy of putting this record
out on our own allowed us the freedom to concentrate on our art. There
are no preconceived ideas of what the record company wants. The band has
since parted ways with longtime label Sony and signed with overseas
imprint Frontier Records.”
From the “funk-rock” feel of “Let It Go,” to the
amazing riffs from Lukather and the solid backbeat of drummer Simon
Phillips, Falling In Between, should turn quite a few
heads with this release. Many will wonder, this is the same band that
gave us “Africa” and “Rosanna?”
To the others, including this journalist it is what the
band had in them all along. It is a powerful release from a powerful
band.
– Brian Pearson
MARTHA BERNER
…This Side Of Yesterday
(Machine Records)
Martha Berner has released 10 original folk songs that
remind me of singer-songwriters like Jude Johnstone, Natalie Merchant,
or Kathleen Edwards. On …this side of yesterday, there’s nearly 45
minutes of finely-wrought folk songs wrapped in layered and lush
production.
Standout cuts for me include the too-true “Mary Lately,”
melancholy but hopeful “Good Company,” and wistful “Mother.”
Last month, Martha played a showcase at SXSW, played the
popular IOTA club near Washington, DC., and landed at the XM Café,
which has her work in rotation on XM50.
She’s working on a Fall/Winter national tour, and I hope
Martha will include the Old Town School of Folk Music or Rich Warren’s
Midnight Special at WFMT-FM on her itinerary.
I strongly suggest
that folk fans same her fun, homespun and very eclectic home page
www.marthaberner.com.
I wonder when she’ll fill up the desk drawers, change the
paintings, or feed the pets!
– Eric Steiner
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