CD SPINS

NOVEMBER CD SPINS

by  Staff

LIZ PHAIR

Somebody’s Miracle

(Capitol)

I hate to beat a dead horse again and reiterate the final lines of my last review of a Liz Phair record, but once again, this just is not Phair! 

Her sound continues to devolve and instead as Phair opts to ape her sunny California friend Sheryl Crow. 

The strongest element of Liz Phair’s previous work is that she came across as some sort of strong-willed survivor that cherished her right to speak freely about relationships and sex in a way that didn’t require songwriting conventions. 

Sometime between 1999 and 2002, she had a nervous breakup and potentially a mid-life crisis by moving out west.  She decided that all she wanted to do was have some fun; never mind the indie rock bullocks.

In hindsight, her self-titled 2002 pop-friendly disaster was a bit bolder with songs like “HWC.”  Sure they were all peppered with Avril Lavigneesque wall-to-wall overproduction and chant-along choruses, but lyrically she occasionally recalled her old self. 

But with her latest blip on the radar, Somebody’s Miracle, it’s as if she’s completely metamorphosed into somebody’s greatest mistake and it’s even more frustrating that she continues to celebrate it. 

All tracks are by-the-numbers and easy on the ears, which isn’t a bad thing for most listeners who have never heard Exile in Guyville, but coming from her, it just doesn’t sound like the shoe fits right.

Phair not only sounds snowed under the music, but she can’t grasp a modicum of interest to either her phrases or the chestnut melodies, so the entire album becomes a numbing wash of jingles.

The mid-tempo structuring is never short of boring, which is unfortunate because Phair has a pretty good bunch of songs here, ranging from the desolate first-person account of alcoholism “Table for One”, to appealing pop ditties like “Stars and Planets”, and especially “Got My Own Thing.”

These are solid adult pop tunes and if they were given a production that was not so overstated and lifeless, this would be quite an appealing record for the adult contemporary listening audience. 

The spare acoustic number “Closer To You,” recalls the stripped-down sound that this record could use much more of, but the trite refrain of –– “Your mind is a place/That I don’t need to embrace/What you’ve got in your heart/Is enough for me to start” –– is mediocre high-school notebook poetry at best. 

Somebody’s Miracle continues to raise the question as to how a woman can can grow older and sound less experienced and naive than she did over a decade ago when she was young, courageous and unforgettable. 

While other artists like Fiona Apple dare to take chances, Phair has sadly settled on playing it safe with a standard missionary position as opposed to being a little bit more experimental and trying something daring and different. 

Being easy on the ears and eyes just isn’t enough to qualify as being an extraordinary artist in any capacity.  

And that is it easy on the ears is the best thing I can say about this album.

– James E Laczkowski

FIONA APPLE

Extraordinary Machine

(Epic Records)

Much has been made of Fiona Apple’s decision to 86 most of the Jon Brion sessions that she completed in 2003 in favor of Eminem producer Mike Elizondo’s stripped-down assembly.   

At war with both versions, she opted to include only two of Brion’s sonic assaults, the title track and “Waltz.”

Brion’s productions are grandiose and bombastic at times, full of symphonic detonations that are cinematic and wildly audacious. The original version of Extraordinary Machine is disputably, the CD that should be available in stores.   

However there’s no denying that any product from this Apple puts out is worth picking, even if her latest is not as strong or consistent as her second album, When The Pawn Hits…, one of the very best albums of the ‘90s even with its pretentious and preposterously long title.

That record showcased her vulnerability and self-reliance.  It possessed a sound that bordered on hasty abandonment and trembling neurosis. She sounded both comfortable and unsure of herself which made both that record and her latest so compelling. 

Fiona’s worst enemy is not the record labels or fans, but herself.

As a lyricist she continues to bring the pain and deconstruct it in attempts to better understand her own interpersonal issues and previous lovers that did her wrong. 

With low-end piano dominating her jazzy whisper to a screech vocal pulse, Apple examines her breakup(s) with assertion that no one else could pull off with ease and clarity.  “I was feeding on the need for you to know me/Devastated at the rate you fell below me/What wasted unconditional love/On somebody who doesn’t believe in the stuff.”  But by the end of it she’s “better than fine.” 

These songs are extraordinary, no matter which producer got the luck of the draw.  Neither affect the charismatic charm and emotional resonance that nearly every song liberates.  There will never be another extraordinary machine like Fiona Apple and it will be interesting to see where she goes from here, now that she knows the fans still care and consider her a vital talent with a lot to offer.

– James E. Laczkowski

SENSES FALL

Let It Enfold You

(Vagrant Records)

I picked this CD on a whim to “broaden” my musical cannon.  Riding on the crest of Blink 182, this band attempts to add their odd sense of “cutting edge” by introducing a preponderance of unrelenting violence with absolutely no substance. Simply put, this band wreaks and will soon be forgotten.

Nothing on this CD is remotely redeeming, worth quoting, or for that matter promoting.  This CD is a clear attempt from the “industry” to rip-off the masses by pretending they know what the masses will tolerate.  This CD was very disappointing.

– Jon Rice

THRICE

Vheissu

(Island Records)

Coming off of the firestorm they created with The Artist in the Ambulance, Thrice asked themselves –– “Is this who we are?” “Who are We?” and “Who are You?”

All of the answers lie in this new recording, Vheissu

Reinvention is an understatement considering Thrice has reinvented themself album after album. The steps taken forward with Vheissu may very well catapult them into rock history.

This is definitely not your typical Thrice album, not even your typical hardcore/punk album, much less comparable to any music released to date.

The heavier tendencies that once ran rampant through each verse, chorus, and breakdown of previous Thrice albums are now mere intricacies in this musical tapestry, taking a back seat to elements of blues, jazz, folk, and classical music which, when blended together, create an entirely new brand of rock.

The album kicks off with vigor in the first single, “Image of the Invisible”, a hard-hitting kick-back to the days of old. 

“Between the End and Where We Lie”, gives a feeling of warmth and comfort – like back when your mother would sing you lullabies at night. 

Another realm of Thrice’s newly found depths shine through in “The Earth Will Shake”, a track layered with emotion that only someone incarcerated for the better part of their life could expel. Its prison house blues-intro swiftly dives into a guttural screaming chorus reminiscent of long days spent on Alcatraz Island. 

These are only a few of the small steps that Thrice has taken in their trek to find new soul and fervor to fuel the fire. They show their “spacier” side in tracks like, “Atlantic” and “Stand and Feel Your Worth”.

However, they haven’t completely steered clear of their hardcore roots, as Dustin Kensrue’s screaming is present in just about every song.

There is no filler and also no loss for intelligence on this 11- song opus for today’s modern hardcore fan. Kensrue’s interest in literary works of our time are evident in his lyrics, as he pushes himself further into a world all of his own.

Teppei Teranishi has become a integral part of the music, not limiting himself to just guitar, but also delving into classical piano on the track “For Miles” and a Hammond organ on “The Earth Will Shake”.

Clearly, Teranishi can do more than just play pentatonic scales and fill the air with whaling guitar tone. 

All four members of Thrice are definitely headed in the same direction with their new musical journey and are willing to take anyone that is willing along for the ride.

Definitely not your average hardcore album. Vheissu is groundbreaking.

– Chris Foss

MAN MADE MACHINE

Man Made Machine

(Inside Out Music)

Inside Out Music is slowly gaining a reputation for signing bands that possess incredible talent and originality, in all facets of Kick Ass Metal without boundaries.

But someone dropped the ball, big time, on Man Made Machine.  This album is in no way, an easy listen.  Most songs clock in at over five minutes and are at times, absolutely void of any direction.

The songs, “Sunshine Water” and “The Weakening Sound”, give one the impression that the songwriters are trying to write a soundtrack for a Broadway play, instead of a metal album.

The vocals are absolutely horrific. The so-called singing made me cringe.  On tracks, “The Recipe” and “This Is Home” the keyboards sound awkward and are accompanied by thin guitars and empty drums.

Bottom line:  If you can make it through this CD without stabbing yourself in the ear, with a letter opener, you are a far more tolerable listener than I! 

   In my opinion, this is one that metal fans should avoid at all costs!

– Thomas Castrovillo

SWITCHFOOT

Nothing Is Sound

(Sony)

After the mega-success of their previous work – The Beautiful Letdown – Switchfoot hit the road for two years AND managed to crank out an entire album during their tour. 

Avoiding the “quantity vs. quality”, they have turned in an even better album under the stress of the road.  Nothing is Sound is outstanding power-pop executed with precise and accurate brilliance.

“Lonely Nation” is a rocker that kicks off the album by lamenting how we have alienated ourselves through materialism, technology and fulfillment of the id. 

The current radio hit “Stars” follows next – a bombast of crunchy guitars and a tight rhythm section. Jon Foreman’s voice never sounded better.

A very deep and effective tune is “Happy Is A Yuppie Word” taken from an interview with Bob Dylan, asked if he was happy. Dylan replied, “Those are yuppie words, happiness and unhappiness. It’s not happiness or unhappiness, it’s blessed or unblessed.” 

This is where Switchfoot is so effective at sprinkling their dogma in without bashing you over the head – “I’m looking for the kingdom coming down.”   

Things slow down with “The Blues,” a fantastic ballad layered with a multitude of atmosphere and emotion. My favorite song is “The Fatal Wound”, a complex and juxtaposed tune that gets in your craw.  Great acoustic guitar and powerful chorus make this song a treat.  

Switchfoot has released their best record to date. They continue their journey with deeper, louder, and much fatter than that of their previous more delicate and soft-spoken work. More info: www.switchfoot.com

– Jon Rice

MY MORNING JACKET

Z

(ATO REecords)

I wonder if My Morning Jacket tired themselves out hence the title of their latest – Z. 

Not that it’s Zzzzzzz snooze fest of course, but it’s also not a long and winding road with running times that stretch out over six minutes. 

Don’t get me wrong, I loved their last two records in which they were consistently hesitant to hit the stop button on the mixing board. That they have abandoned some of their brand name ingredients in hopes of a better product, is not off-putting just vastly different than anything I’ve come to expect from the frizzy-haired rockers. 

Opening number “Wordless Chorus” is something right out of the realm of either Flaming Lips or Radiohead with its bass blips and electronic milieu.  Not something you’d expect from a band gets off on overextended jams accompanied by guitar-solo-fueled headbanging.  (They recently covered “Freebird” in Cameron Crowe’s latest opus). 

The keyboards are more apparent on this set of songs, thanks to newest member Bo Kester, and the songs are taut and controlled as if the band were conscious of the fact that they should dial down and focus on the process of composition. 

It’s also chock-full of ambiance and surprise. It’s the first time you can actually say one of their records truly grooves in the spirit of summertime reggae blues (“Off The Record”). 

Even Jim James’ octaves have reached an ecstatic, higher plateau most obvious during the opening number.  The tripped-up scattersnare during “It Beats 4 U” is accompanied by sonic synth and trademark reverb that is mesmeric to say the least. 

“Knot Comes Loose” is a standout ballad that is stark and haunting with piano twinkles and subdued percussion. 

“Anytime” brings to mind a ragged, almost Paul Westerberg rasp and is about as standard as a pop rock song can get that’s ripe for radio sovereignty. 

The best part… is that it all suits them well, as if the band were designed to get to this point.  They took their time but their first true masterpiece has arrived, warts and all. 

The big blotch is the meandering “Dondante” that gets a little too heavy on the Floyd-isms, but will serve as a solid live track they can jam out on. 

My Morning Jacket has put out a record that will easily make my top ten list at the end of the year.  Not only does it rock hard, but it brings a smile to the face and reminds you that all the pieces can fit perfectly and sound right together.

Z is certainly an A+ record 

– James E Laczkowski

JOE BONAMASSA

Had To Cry Today

(Premier Artists Music)

Like its predecessor, Blues Deluxe (not the WXRT  compilation from ChicagoFest of more than two decades ago on Alligator Records), Joe Bonamassa’s Had to Cry Today is an 11-song tour-de-blues from a young and forceful bluesman that reminds me of early Albert  Collins and early Johnny Winter.   

Had to Cry Today is a worthy follow-up to Blues Deluxe, his gift to those bluesmen (like Collins and Winter) that inspired him.

Had to Cry Today features a mix of originals and covers that range from blues greats like Lowell Fulsom to British sensation Steve Winwood (think Blind Faith as opposed to his  later solo work).

Joe’s blistering take on Fulsom’s “Reconsider Baby”, shows that he is a young man to be reckoned with, and his psychedelic guitar work on the album’s title track, would be right at  home with one of Britain’s supergroups even though Joe was in diapers during Blind Faith’s formative years.

Even the three acoustic tunes that close this CD smoke:  “The River,” “When the Sun Goes Down,” and “Faux Martini” all showcase some first-rate strumming and picking with the amps turned way down low.

From start to finish, this is really good stuff.  Blues on!

– Eric Steiner

THE JONES GANG

Any Day Now

(Reality)

Trans World Entertainment/ FYE has ventured into producing their own product rather just distributing others with their new venture – AAO Music/Reality label. 

Bringing together powerhouse unsung heroes of rocks finest, The Jones Gang is: Kenny Jones (The Who, The Small Faces, The Faces ), Rick Wills (David Gilmore, Peter Frampton's Camel, The Small Faces), and Robert Hart (Bad Company). Their debut CD, Any Day Now, is nothing short of cool.

The album opener, “Time of Your Life”, blasts with a in-your-face guitar riff that augments a funky and punchy bass and drums foundation. A solid chorus and middle-eastern theme make this a perfect lead track. 

“She’ll Never Know” changes things up a bit with an tight acoustic feel in the country vein. There are great harmonies and strings backing-up this sing-along tune. 

Things go “Beatle-esque” with “Lucy” – a power-pop song if ever there was one.  Beautiful vocals by Hart and solid songwriting make this a stand-out. 

The CD ends with a Stoned-up tune called “Red Hot”.  The reason this song sounds “Stoned” is that it employs the guitar talents of The Rolling Stones’ Ronnie Wood. 

What makes this (what most would be called a “dinosaur” group)  band work is their fresh approach to tried and true standard rock-n-roll.  What was old is new again.  Check them out at FYE.

– Jon Rice

VITAL SUPPORT

Vital Support

(Independent)

While the line-up of Dyer, Indiana’s Vital Support Band has changed over the years, the band has consistently made original and compelling blues music.

Initially formed as the band behind Carl Weathersby, original members Paul Hendricks on guitar and Skip Gaskin on bass have recruited John Williams on drums and “new blood” Corey Dennison on vocals and guitar.  Together, they’ve put together a blues record that flirts with funk but charges full-steam ahead from start to finish. 

On Vital Support, the group tell stories we can all relate to: for those of us who work for wages  in very difficult economic times, “Payroll Deduction” resonates loudly; and even in the wake of disasters like Hurricane Katrina, “What’s Left?” asks a very a important question.

I wish the CD  included more acoustic work, because “To Brunswick” is an unplugged gem of traditional blues that balances out the funk and straight-ahead blues nicely.   

The band can be heard online at www.cdbaby.com/cd/vitalsupport

Learn more about the band at: www.vitalsupportband.com

– Eric Steiner

NEAL MORSE

(Metal Blade Records)

Christian Progressive artist, Neal Morse exposed his soul and Christ-journey with the 2003 release of Testimony; put man’s struggle to rejoin with God in the 2004 release of One; and has once again outdone himself with his latest release, ?. 

? is a progressive rock masterwork that is fixed hard in both prose and musical content. 

What amazes me is Morse’s ability to present extensive Christian themes without sounding like any CCM (Contemporary Christian Music) artist I have heard. I believe it is the marriage of progressive rock music with the subject matter and Morse’s perceptive insight to the “everyman” approach to presenting his message.

The CD is really one continuous song (don’t worry, it is time segregated so you can navigate the tracks) that subtly flows without notice.   

Morse again employs the stable of musicians that helped to make his previous works their best –– Randy George (Ajalon) on bass and Mike Portnoy (Dream Theater, OSI) on drums –– while adding a bevy of guest prog artists both old and new. 

Veteran Genesis guitarist Steve Hackett delivers an absolutely haunting solo on the track, “12”.  It conjures up his signature sound from his own early solo LP, Voyage of the Acolyte.  

On “Into the Fire”, Alan Morse (Spock’s Beard) and Roine Stolt (The Flower Kings) turn in simpatico guitar solos that ebb and flow as if human.    

“Solid As the Sun” features three exciting sections: guest saxophonist Mark Leniger solos, Neal’s Church Pastor delivering a poignant sermon backed by Randy George’s inventive and tasty bass solo. 

The pinnacle of the CD is in the track “Outside Looking In” – a gentle tune that reverberates the very cage around my heart.  This tune beautifully builds to an emotional crescendo that will deliver “goosebumpery” on your arms and neck.  

The capper for this CD is in the lyrics for “12” cataloging the mysterious “numerology” that riddles the bible.  Simply stated passages that get your noggin a buzzing.

Morse left the progressive rock band Spock’s Beard some while back to fulfill his calling to God.  Fans remain divided as to whether or not they will accept his new direction. 

As I have stated before, Morse’s delivery of his spiritual point of view does not put off.  His musical direction hasn’t really changed much from Spock’s Beard; in fact much of it is the same.  I would challenge those who remain “outside looking in” to suspend their disbelief for a moment and give ? a listen.

I promise that if you are a progressive music fan, you will not be disappointed.  This is honestly one of the best CDs I have heard this year.

– Jone Rice

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