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CD SPINS by Staff ROBERT LAMMSubtlety
& Passion (Fuel
2000) One of the biggest
complaints among Chicago fans is why there hasn’t been a new studio
album in a number of years. They have continued to
tour various summer sheds year after year but in most cases they have
been hawking the same “Remastered Once Again” recordings or touring
off their plethora of Greatest Hits CD’s. These very talented
players need to record more, if not as a group, then at least toss out
some worthy solo projects. Original member Robert
Lamm’s has done just that with his new solo offering Subtlety
& Passion. S&P is an 11-track, jazzy-pop set that should please Chicago fans as
well as earn Lamm a whole new audience.
Robert’s voice is in fine form as he displays his many vocal
ranges and styles, something we really don’t get to hear in his work
with Chicago. It also doesn’t hurt
that Robert has surrounded himself with many musical friends like Gerry
Beckley (America), Timothy B. Schmidt (Eagles) and few Chicago mates
–– Jason Scheff, Tris
Imboden, Lee Loughnane and James Pankow –– plus longtime Chicago
rock ‘n’ roll talent Marty Grebb (Paul Butterfield/The Buckinghams). One of the best cuts and one that is
downright “old school Chicago,” is “Intensity.”
This one features the
late Terry Kath on guitar. Indeed
modern technology is a good thing in instances such as this. This is certainly one
of the surprise CD’s for 2003, and there aren’t too many that will
keep you locked in track per track.
If Chicago has had it’s run then that’s okay with me, because
it’s obvious Mr. Lamm’s creative talents feel the need to be heard. – Brian Pearson JANES ADDICTION
Strays (Capitol)
Janes Addiction has
finally released a new album after many, many years away.
With Strays, they
seemed to have gone back to the powerful songwriting that made classics
as Nothing Shocking and Ritual
de lo Habitual stand the test of time.
Back is original
guitarist Dave Navarro to provide the power but also much need ambient
backdrops for Perry Farrell’s most unique vocal. Fresh, innovative and robust, Strays will not disappoint an
old school Jane’s fan. The album opener is “True
Nature” and man, does it rock.
From the signature Farrell “Here
we go!” call to start the song, it starts pumping testosterone and
wall-o-sound aural pictures at the listener.
There has been an improvement on Farrell’s part in that he got
rid of the Echoplex machine and is relying on his true vocals to carry
the song rather than hiding it behind an effect.
My favorite tune has
to be “The Price I Pay.”
A maudlin guitar and bass meander the song into a growling bass
line that gets us to the meat of the song.
Great dynamics and efficient use of breaks.
“The Riches” is a funny little tale of self-indulgence that
has a drive that doesn't quit. Funky guitar and
punchy, plucky bass supports “Wrong
Girl.” One gal you
don’t want to mess with as she definitely has her freak on.
Navarro is featured on this tune with his swinging rhythm playing
and ghostly solos. The funk fest
continues with “Suffer Some”
with a hip-hop flair to it. This
song will get you out on the dance floor.
This song would make Prince jealous!
The strongest tune on the CD has to be the passionate “Hypersonic.” What
makes this song work is the effective breaks that are still filled with
energy even though it’s a dynamic break. A seminal band of the pre-grunge era,
Janes influenced many West Coast bands before disappearing. They’re back and better than ever on Strays.
www.janesaddiction.com – Jon Rice AFI
Sing
The Sorrow (Dreamworks) The bay area boys AFI
(A Fire Inside) continue their twelve year music streak with recently
released, major label debut, Sing The Sorrow. A dark world of
melodic greatness, Sing The Sorrow, produced by Jerry Finn and Butch Vig, is a
twelve track blend of punk, metal, and hardcore with a slightly morbid
emo twist. The CD’s cataclysmic
anthems display a certain musical enchantment by guitarist Jade Puget,
bassist Hunter, and drummer Adam Carson, but it is lead singer Davey
Havoc who gives Sing
The Sorrow a unique, yet wonderful place in the music world with
his lyrics that are nothing short of genius. AFI unleashes a slew
of surprises in this album, as compared to previous albums. These
include catchy, Mortal Kombat-style electronica components and gloomy, yet
soothing, cello pieces. However,
contrary to the surprises, they have kept up with the tradition of
including a hidden track. This
time out it is “This Time
Imperfect,” which follows a murky, spoken poem after track twelve,
“...but home is nowhere.” The album’s opening
track, “Miseria Cantare - The
Beginning,” definitely sets the standard for the entire CD and is
a sheer fist-pumping opus that within seconds of the first beat is sure
to give you goosebumps. The best part of the
album is that all of the tracks are different in their own right. Not
one song following its predecessor sounds exactly the same, and you,
most definitely, will not find a trace of the contagious three-chord
repetition found in most bands that are mainstream these days.
This album is pretty
much flawless. AFI has
beyond doubt outdone themselves in every way, shape, and form. Sing The Sorrow truly is a beautiful nightmare. – Josh Drake EMITTERel
camino yes maybe
(Independent)
Emitter, Emitter,
Emitter... SOMEONE GIVE THESE GUYS A RECORD DEAL ALREADY!!!!!
The fine lads of
Emitter have put together yet another collection of tunes to hopefully
snag a record deal titled, el
camino yes maybe. This
has to be their best yet! (Hmmm... didn’t I say that last time with
their EP, Melody?) The 4-track EP from
this local group starts off “Left It On The Floor,” a pop gem with
ebb and tide dynamics, shout out loud choruses, fist in the air “hey-hey-heys!,” perfectly placed “doo-doos” and fantastic vocal work from Jason James.
Dave Schoon’s bass playing is the bomb on this track.
This song is a great calling card for the band as it shows the
listener great songwriting, talented musicians and their fun
disposition. The brutally honest
and tongue-and-cheek tune “White
Trash Town” comes up next with a wonderfully descriptive portrait
of Midwest hamlets full of El Caminos, trailer parks, karaoke parties in
every bar, and dreams lost in the dust of despair.
Great guitar-work from Steven Van Der Griend on this one.
Emitter really knows
how to get the listener to join in with their songs. The CD ends (unfortunately) with an acoustic flavored “West
Texas” –– again featuring the confident voice of Jason James.
This song builds to a very complex and colorful soundscape.
You can feel the dirty dust cloud that imprisons the character of
the song as he waits for the metaphoric “rain”
to release him from whatever it is he needs releasing from...
A somber and effective tune that gives the band some space to
gel. I really wish someone
would give these guys a record deal so I can listen to more than four
songs at a time! Emitter
could certainly stand equal to The Verve Pipe, Goo Goo Dolls, Counting
Crows and Tonic. Fantastic songwriting,
über talented musicians, fun, and professionalism make Emitter the ones
to watch. Download these
songs and others at: www.emitteronline.com
el
camino yes maybe
demands to be in your collection! – Jon Rice DIDO
Life
For Rent (Arista) Confession. I like
Dido. I don’t know why a guy like me should be shame-faced about
owning her last record, No Angel. Sure,
it’s sandwiched in my CD collection in between Black Sabbath and
Fugazi, but there’s nothing wrong with diversity, damn it! Dido never wails. She
sounds as if she’s trapped in a dreamscape; drifting effortlessly over
the horizon. She’s no Janis, but her voice suits the style quite
nicely. The first two sounds that merge on the new album are that of a
Moog-style synth orchestra that quickly bleeds into real violins that
set the tone. It’s a lovely amalgam of both the real and the
synthesized. Dido builds her niche in that sound and by not evolving; it
all blends together in what’s essentially a continuation of the No
Angel style of songwriting. The same lyrical
profile takes shape with the subject of love being both inescapable, as
well as in question, and finally, in jeopardy for the singer. The trip-hop ambiance
full of floaty phaser keyboard with groovebox beats play themselves out
over time. Still, her honesty keeps the music pure despite the obvious
redundancy throughout. It’s clear that
she’s striving for more hit singles because some tracks sound too much
like “Here With Me” and “Thank You,” two enjoyable songs even though they were grossly
overplayed. The best tracks like
the confessional “Who Makes You
Feel,” make Dido sound invitingly sensual, and the relentless
melody of both “Don’t Leave
Home” and “Sand In My
Shoes” force their way into your head and take up residence. Life For Rent is appealing and pleasant. In other words, you know what to expect
when you pick up a Dido record. I think if she were to branch out beyond
the trip-hop conventions and lean more towards the acoustic appeal of
her hidden track, then she very well might emerge a stronger recording
artist instead of a two-hit wonder. There’s nothing
wrong with accessible plain-sounding FM pop when it’s done honestly
and with a sense of purity. Dido may tread familiar waters, but the
weather is nice all-around. – James Laczkowski |
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