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NEW MUSIC CDS REVIEW COLUMNCD SPINS by Staff
GREEN DAY American Idiot (Warner Bros)
When grunge and the alternative movement exploded back in the early to mid-‘90s, it was refreshing to hear what was essentially a brat-pack punk band incorporate sturdy pop harmonies into their outfit. They were melodic about their discontent, something that The Ramones perfected and solidified into a movement all on its own. With the melancholic rebellion incinerated into our skulls with Nirvana, it was nice to hear three bar chords recycled with upbeat precision which resulted in radio-friendly songs about masturbation and suburban cynicism. Green Day wasn’t meant to necessarily be pertinent and it’s surprising to any music devotee that they’ve managed to maintain longevity during the course of boy bands and rap metal. But here they are in 2004, continuing to enthrall on more of a political level rather than a musical one. They do happen to walk the fine line between being derivative and innovation, clearly manifested in “Brain Stew”, which sounded far too much like “25 or 6 to 4” by Chicago. American Idiot is indeed touted as a conceptual album spliced into a punk rock opera, but at times, and this is actually nothing new, they recycle the same key and chord structures to fit the mold of the “concept” record, in which songs bleed into the next without flinching. It’s disappointing that they don’t venture out beyond playing variations of A major, for a lot of the songs “sound” the same, even though their socially-charged lyrical landscapes are amongst the best they’ve ever done in the career. “City of the dead/At the end of another lost highway /Signs misleading to nowhere/City of the damned/Lost children with dirty faces today/No one really seems to care” is indicative of the activist material presented here. It’s more of a sociological exploration rather than taking the opportunity to bitch about chicks. “Jesus Of Suburbia” begins like most Green Day songs with punchy power riffs dominated by Armstrong’s keen ear for melody and Tre’ Cool’s air-tight fills. About two minutes in, piano surfaces and the chorus is weirdly reminiscent of “Summer of 69.” Another three minutes later, it sounds like a sprightly summer ska song with Beach Boys harmonies. The title track/first single is a superlative, prototypical Green Day song for the die-hard fans that resonates better than anything since their breakthrough CD, Dookie. It’s not a perfect record. “Are We The Waiting?” needs a more climactic buildup and as soon as it begins to settle, it dissipates after two brief minutes. “Wake Me When September Ends” has poignant lyrics but sounds far too much like a boy band song and is clearly attempting to ape the success of “Good Riddance.” American Idiot is bound to have more of a lasting, memorable impact than some of their recent releases in terms of its range and sweeping scope, and its successful branch-out into new territory. Green Day have always shown signs of maturity, but now it’s finally got a central focus and an emotional core beyond adolescent angst and sexual frustration. They’re touching on universal issues at a time when the flaws of America are clearly being verified through rock ‘n’ roll. The Ramones bashed and criticized Reagan-era politics during their time, so it’s only fitting that Green Day take over during Bush’s reign. The torch has been passed, boys. – James E. Laczkowski
ANITA BAKER My Everything (Blue Note Records)
Genuine article, Anita Baker comes out of retirement with new energy, spark and record label with My Everything. Expansive, Lush, and polished, this album a welcome isle in a sea of wannabe divas. “In My Heart” offers a primer in jazzy soul and Baker’s ability to not rush the phrasing as it lilts on top of the groove. Babyface makes an appearance on “Like You Used to Do” –– this is the standout track on the CD with it’s R&B roots and new sensibilities. “I Can’t Sleep At Night” captures Baker at her improvisational best as she sprits and sprats in and out of the song. What makes this debut of sorts work, is the use of live backup as a large number of tracks are recorded “as is.” This live feel keeps it from sounding cold and “over produced” as many latter day R&B album do. It also allows Baker to stretch out without being constrained by producers. It seems as if this release comes from the heart and it was important to Baker herself to capture that quality of her magnificent live shows. She has succeeded. Well done Ms. Baker! Welcome back! – Jon Rice THE RIDDLIN KIDS Stop The World (Columbia)
They are labeled – “emo” – but I just see these Kids as a good pop punk band. They prove that with the release of Stop The World. The Kids got a little help from both Chuck Gladfelter (Gravity Studio) and Paul Ebersold (3 Doors Down) in the production booth. Paul has worked with the Kids before and brings out the true talent of these four snarly lads, who remind me of another great band Paul produces, Love 45 (www.love45.com). This release has twelve catchy, fun songs that hint at mature themes while never quite growing up. They keeping you singing along from start to end. Vocally, well demonstrated harmonies make these tracks come alive and show the growth the band has made as songwriters. This is best demonstrated on the title track, “Talk of the Town” and “Promise You.” Musically, many influences come through – everything from metal riffs which can be found in “Ship Jumper” and “Just Another Day”, to country twang in “Apology”. I find that it’s the combination of these influences, along with a pop-ish backbeat and strong melodies, that make this CD a very enjoyable listen. My favorite tunes are “Revenge,” “Turn Around” and “I Hate You.” Riddlin Kids are often compared to Cheap Trick, and although I disagree with that, the more they mature as musicians, they may grow into that comparison. This CD deserves to be in the collection of anyone into the punk/pop-punk genre. For more info: www.theriddlinkids.com
– Mr. Sid BRUCE HORNSBY Halcyon Days (Sony Records)
Halcyon Days is Bruce Hornsby’s latest release and it is a confusing collection of tunes that ring the same. I am a fan of Hornsby as he is a musician’s musician. Halcyon Days is blues in nature and grows on you (a little). I was disappointed for the most part, as I fear his guest gigs with the Grateful Dead left a malaise to his spirit. Hornsby has played with a cornucopia of players and his dance card on this album is full. Sting sings backing vocal on the current radio hit, “Gonna Be Some Changes Made” and also on the title track. Elton John makes a guest appearance as well on “Dreamland.” My personal favorite track here, is the Randy Newman-esque dixieland/circus “What the Hell Happened to Me.” Poking fun at himself, Hornsby manages to get a extended solo section to show off his prowess on the keys. “Mirror on the Wall” features a techno feel infused with a looseness not often found on electronic influenced tracks. Great guitar make this a standout. Sad to say, but Halcyon Days is a mediocre plate of gray oatmeal and Melba toast. Hornsby’s element is in the voice he started with – a mix of jazz, piano, acoustic instruments. His talent sure takes a back seat on this effort. – Jon Rice R.E.M. Around The Sun (Warner Bros.)
On one hand, Around the Sun, sounds like it was recorded in a black hole where the arrangements are stripped of light and ferocity. The passion is there but it’s tucked in the corridors of the skull. All the instruments have been untainted and come across as expectedly safe and even pedestrian. Some of the emotional context has been relegated towards ambiguity even as the quietest sting from Stipe’s understated murmur emerges, which feels replaced by a shiny, happy lobotomized simplicity and a sense of complacency. “Wanderlust” is an example of where R.E.M truly go off the deep end, and wind up lost, drowning inside their trademark sound. Such detours come off as forced and insincere, as when rapper Q-Tip tacks on a pseudo- rap during the otherwise engaging third track, “The Outsiders.” Their best record is still Automatic For the People, and nearly each album that has followed is a tip-of-the-hat to the best songs on Automatic, sometimes even recycling the same chord structures. They’re cozy and secure, in other words, with no aspirations other than to expound on what they do best: mid-tempo, laid-back, solemn little ballads that may stir yawns or subtle nods. Around the Sun is akin to soaking in the tub with glowing candles lit, gradually falling asleep while the warmth enfolds you. It’s meticulously melodious and mellow in a way that only R.E.M can accomplish. First single is indicative of the album and quaintly sets the tone. “Leaving New York,” is a lovingly clear response to 9/11 and several songs that follow fit into to a similar archetype. The arrangements don’t always match the fire of Stipe’s words or hushed vocals which can be perceived as a negative attribute. “As I raise my head to broadcast my objection/As your latest triumph draws the final straw/Who died and lifted you up to perfection/And what silenced me is written into law” is a pertinent, relevant declaration at a time when just about every band has something to say about the current administration and the rather profuse wave of censorship. The record is at its strongest towards the end, with the unyielding, anthemic victory of “The Ascent of Man,” where Stipe lucratively sings out-of-tune with the wall of chords. “High-Speed Train” is a vulnerable, profoundly sincere ballad that we’ve come to expect on nearly every record. “Aftermath” is another pristine example of R.E.M taking hold of their strengths like a runaway, ahem, high-speed train. But it’s also interesting to examine the fact that Mills or Buck don’t feel like dominant forces this time out. There are hushed keyboards and slightly strummed Strats, also the occasional mandolin, but they serve more as background accompaniment which is surprising to note. Around The Sun is a very good R.E.M record, better than their last, especially as it unwinds, but it all depends on how you’ve felt about their last two albums. If you’ve grown bored with their lack of sonic innovation and are simply tired of their darkly articulated melancholic milieu, then you’ll more than likely dismiss this in hopes they’ll return with a rock record. This is not that. This is a mature, easy listening record (but not in the new-age-Enya kind of way) that should please fans, but it will not demand new ears to perk up and take notice. – James E. Laczkowski HATESPHERE Ballet Of The Brute (Century-Media Records)
Hatesphere is a worthy example of the perfect union of thrash and death metal. European metal for sure, but without the keyboards. It’s reminiscent of Sodom (Code Red CD), which is evident on the track, “Deathtrip”. Throw in a little Meshuggah, Nile or Dying Fetus, minus the speed. The best of the ‘90’s underground metal scene is captured, quite nicely, without the sound being dated. Maybe you remember them when they were Cauterized or Necrosis? Ballet of The Brute is a grand 10-song CD, with duel lead guitars and some great drumming that keeps things interesting and not overdone. Things start off with the classic short intro that will make you sit up and take notice because it’s so distorted, (no, your speakers aren’t blowed) but it quickly fades, to your relief and then the fun begins. I really enjoy the track “500 Dead People” filled with doom-laden riffs and especially the beginning, it sounds just like a record that’s in between cuts, I call it the Rice Krispy Factor or crackles. Ballet of The Brute is the bands third CD and the second one produced by Tommy Hansen (Helloween, Gamma Ray). The production quality is solid and top notch. I have a sneaking suspicion this band has been overlooked, which is regrettable. Something is to be said about a band touring Europe, three times just this past summer. I’ve listened to the CD four times and I enjoy it more with every listen! – Diane Demeter KENNY WAYNE SHEPHERD The Place You’re In (Reprise)
Yes, everyone is aware that Kenny Wayne Shepherd can wail incredible guitar licks and write amazing songs, but surprisingly, the bluesman from Shreveport, LA can sing great too! His newly released The Place You’re In that dropped in October, 2004, showcases Kenny’s vocal abilities as well as his memorable instrumentation. It makes sense for the young musician to sing on the album. Previous albums from Shepherd featured lead vocals from Noah Hunt, who joins two tracks on The Place You’re In. The two vocal styles are completely different therefore giving Shepherd’s new release a fresh sound. Shepherd remains true to his blues roots on the new album, although his sound has become more main stream. There is an alternative/hard rock twist to tracks such as “Alive”, “The Place You’re In”, and “Ain’t Selling Out”. A blues album would be incomplete without true heartbreak songs such as “Let Go”. The concentration on lyrical and musical composure is obvious on “Burdens” (featuring Noah Hunt), and “Hey, What Do You Say”, which is possibly the most uplifting and radio-friendly track. “Spank” is a feel good blues tune in which Shepherd collaborates with modern legend, Kid Rock. One will gain inspiration and motivation from the songs on Shepherd’s record. The lyrics present messages about learning life lessons and persevering through the hard times. “Believe” (also featuring Noah Hunt), in particular, represents this theme. In comparison to previous Kenny Wayne Shepherd albums, The Place You’re In challenges new directions musically and style wise. However, any blues or Shepherd fan will appreciate the album and find it enjoyable. It may also be an interesting tour to see Kenny singing along with his own material. – Brian Pearson BJORK Medulla (Elektra/Asylum)
It’s abundantly clear that Björk enthusiastically embraces the art of reinvention. Even before Moby made electronica music hip and commercial, the Iceland native herself was effortlessly meshing world music with dance beats that sounded utterly original and ethereally enchanting. With each record, there is a primal milieu that sounds sensual and supernatural, combining the rapturous beauty with the medieval gloom. Yet she’s far from accessible unless you count the occasional foray into pop like her modest hit, “Big Time Sensuality.” Now she’s decided to literally strip herself of conventional instrumentation to the focal point of vocal configuration, in which her strong pipes are given most of the attention. And thank the Lord for that. Very few contemporary singers have the vocal resilience and self-imposed determination to carry an entire album with the use of pipes alone. Collaborating with an array of talented singers, Björk strips away pre-programmed beats in favor of stylized beatboxes (Japanese artist Dokaka and former Roots member Rahzel). She successfully utilizes the talents of Inuit throat-singer Tanya Tagaq Gillis (who you have to hear to believe), veteran Soft Machine member Robert Wyatt, R&B milk-shaker Kelis and hyper-productive metal vocalist Mike Patton. These fine talents, along with Icelandic and UK choirs, support Björk in framing an album almost entirely assembled from the throat up. And it unfolds beautifully at a rather rapid pace. Medúlla’s more superlative moments defy from making a shred of common sense in favor of building an amplified vocal mausoleum of interlocking harmonies and multi-tasked voice solos that are off-key at times, or completely in tune with one another depending on the weight of each track. The concentrated, trouncing vigor of “Where Is the Line,” complete with pulsating sound effects, is a powerful example, as is “Vökuró,” which reinterprets Icelandic composer Jórunn Vidar’s piano-based cogitation on insomnia for a 20-piece choir, with mind-shattering results. Robert Wyatt’s weighty baritone introduces the fidgety “Submarine,” nicely counteracted by Björk’s fragile gust of ventilation. The celebratory pinnacle occurs last. “Triumph of a Heart” is a dance-infected, sublime showcase for the formidable beatbox skills of Dokaka and Rahzel climaxing abruptly, leaving the listener staggering for more. “Desired Constellation” offers the most clear-cut lyric arrangement that is nothing short of poetry. “With a palm full of stars /I throw them like dice on the table/until the desired constellation appears.” Such stanzas add significant weight to the overall succession of Björk’s intentions to create a mood that is all her own, while employing others to join in. Even with a stripped-down arrangement, Björk maintains strong dichotomy throughout. The unsettling Gothic piano howl and orgasmic pitter-patt of one song is brightly contrasted by another such as the sweet twitter of “Who Is It”, which is one of the more traditionalist tracks on the album along with “Oceania” in which Björk takes the perspective of the Atlantic as her voice becomes liquid and swims alongside fairies and ghouls. “Across the sky/little ones, my sons and my daughters/your sweat is salty/I am why/” Björk’s greatest achievement with Medúlla is in taking a self-imposed limitation and managing to craft a full-bodied, multi-layered work from such a basic toolset. Medúlla is an unexpectedly moving voyage of the human voice box that would make Nusrat Fateh Ali Khan blush with admiration and respect. In the end, it’s great to hear Björk emulating Gregorian Chant as opposed to Bobby McFerrin. – James E. Laczkowski | ||
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