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Pop
and Contemporary Music |
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Alison
Krauss And Union Station - Lonely Runs Both Ways
Rounder RRCD 525 Reviewed by RP
Take hold of this disc with both hands, grip tightly and under no circumstances
let it go. Over the last decade Alison Krauss and Union Station have released
beautifully crafted contemporary blue grass albums and the exquisite and
evocatively titled Lonely Runs Both Ways encapsulates all that is good
about them. Accompanied by her core band of superb musicians, Krauss gives
one of those quite delicious displays of singing that will melt the coldest
and most uncaring of hearts.
The writing as always is of the highest calibre and this again contributes
to the power and success of her latest recording. Robert Lee Castleman
supplies four of these songs and stalwart Union Station guitarist Ron
Block another two. There’s also room for old timers like Woodie
Guthrie and Del McCoury whose enduring folk blues classics ‘Pastures
of Plenty’ and ‘Rain Please Go Away’ rub shoulders with
the more modern and piquant flavoured ‘Wouldn’t Be So Bad’
which comes courtesy of the brilliant Gillian Welch and David Rawlings
partnership. Welch’s song deserves to be in such auspicious company.
There’s a nice blend of lively traditional grass chewing rural tunes
and the honeyed melodies penned by John Scott Sherrill for ‘If I
Didn’t Know Any Better’ or R.L. Castleman in ‘Gravity’
and ‘Restless’.
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Biffy
Clyro - Infinity Land
Beggars Banquet bbqcd238 Reviewed by MC
Infinity Land sees Biffy Clyro complete their transformation from Nirvana
wannabes to alternative rock giants. Last years Vertigo Of Bliss made
it clear that the Scottish three-piece were intent on pushing their music
further from the mainstream in search of fresher pastures and this latest
record certainly continues this move.
This album is resolutely difficult, although each song has firm foundations
in structure and tune, layer upon layer of complexity are added until
the tracks become a study of careful discord and disjointedness. The band
play with time signatures and dynamics, fracturing each song into multiple
parts that barely fit together, mashed in with guitar trills and harsh
vocal assaults. In short: this is not chart friendly material.
So if this album is so much effort, why bother? Well, Biffy Clyro have
quietly crept into the consciousness of the underground, slowly gathering
a dedicated following. Whilst most alternative rock bands seem content
to follow the crowd, Biffy Clyro are determined to cut their own path.
And their popularity has been built on the realisation that beneath the
white noise there lie some big hooks and fantastic tunes. Perhaps this
album is difficult, perhaps even self indulgent, but it’s certainly
good.
Infinity Land is an album that grows and grows. If you like your music
loud, this one’s for you.
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James
Cotton – Baby, Don’t You Tear My Clothes
Telarc CD83596 Reviewed by AH
James Cotton’s paid his dues. From nine years old he was on the
road with the legendary Sonny Boy Williamson. At 15, he inherited Sonny
Boy’s Band and after a short tenure left to become a solo artist,
recording with Howling Wolf and Don Nix on the Memphis blues circuit.
The real big break came when Muddy Waters hit town looking for a replacement
for his harpist, Junior Wells. Cotton got the job and stayed for the next
12 years, before breaking out on his own again. Throat surgery has curtailed
his singing career but he still blows a mighty fierce harp.
With a pedigree like his it wasn’t difficult for Cotton to assemble
some pretty influential friends for this new Telarc album. He’s
brought in the likes of ex-blaster Dave Alvin, Marcia Ball, Odetta, Rory
Block, C.J. Chenier and Bobby Rush to handle various vocal parts, and
all their contributions are first class. With a house band featuring David
Maxwell (Piano), Derek O’Brien (Guitar), Noel Neal (Bass) and Per
Hansson (Drums), Cotton and his guests cut loose and slip into some lovely,
laid back shuffles and boogies which will delight anyone into harmonica
driven blues. James Cotton is 69 years old and still has what it takes:
he’s what the spirit of the blues is all about.
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Bob
Marley – Young Mystic
Audio Fidelity AFZ 021 Reviewed by DD
Coupled with The Wailers and The Upsetters this early outing from Marley
was produced in the early 1970’s by Lee ‘Scratch’ Perry.
The sessions were raw and minimalist with Marley backed by The Upsetters
comprising Alva Lewis (guitar), Glen Adams (keyboards) and the Barrett
brothers Carly (drums), and Aston (bass). The band would lay down their
backing tracks supervised by Bob, Bunny and Peter who would then contribute
their vocals. Perry’s contribution to the whole thing remains a
controversy, but rumour has it that it was pretty minimal. Asked what
tunes the Wailers would give Perry and which they’d retain for Tuff-Gong
their own label, Bunny said “The throw-away stuff”.
If so, this is the finest collection of rubbish I’ve heard.
Including a number of tracks that were to become better known in later
incarnations such, ‘Kaya’ and ‘All In One’ (a
medley including an early outing of ‘One Love’), this is a
very fine set. The Wailers sinuous harmony vocals are to the fore and
in Steve Hoffman’s expert re-mastering of this material, every nuance
of their vocals can be savoured, alongside deep, warm bass and crisp percussion.
And whilst the original material would never have won any hi-fi awards,
Hoffmann has wrought wonders in wringing every drop of value from it.
This is a set that can stand proudly next to Marley’s more famous
titles.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Green
Day - American Idiot
Reprise Records 9362-48777-2 Reviewed by MC
In 1994 Green Day released Dookie which stormed to success and stands
as a landmark in the American punk music landscape. It unleashed a sound
that now defines a generation and spawned hundreds of copycat bands. To
me Dookie represents perfection of a genre. So, ten years later, with
American Idiot, the band return to that point to see how things have changed.
This is a strange record. The track-list is dominated by two huge tracks,
‘Jesus of Suburbia’ and ‘Homecoming’, each of
which have five themes.
These tracks seem disjointed, never quite building properly over the entire
length of the song. But over their length familiar hooks leap out at you,
snatches of tracks from Dookie as well as themes spookily reminiscent
of old Bryan Adams tunes.
But around and between these über-tunes, this album is crammed with
straight-down-the-middle Green Day singles. And these singles are the
equal of anything the band have done before. Like so many bands, the current
situation in America and around the world has acted to fuel a creative
fire. Green Day have sprung back, enlivened and revitalised, as current
and relevant as ever: older, more mature, but just as good. This album
constantly invites comparison with Dookie, and consistently comes out
shining. Less a return to form, more a coming of age.
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Ben
Harper & The Blind Boys of Alabama - There Will Be A Light
Virgin Records Reviewed by AH
The foundations for this collaboration between Ben Harper and The Blind
Boys of Alabama can be traced back to the New Orleans jazz and Heritage
festival in 2001. It was there they performed together for the first time,
something they were to repeat when the Blind Boys played (sang?) the opening
slot on Ben Harper’s final European date in Paris last year.
Once back home the two bands returned to the studio to cut a couple of
songs for the next Blind Boys album. That was the general idea anyway;
this was the end result. There Will Be A Light features 11 tracks, eight
from the pen of Ben Harper. He also produced it and contributed plenty
of his trademark slide guitar behind the formidable vocal harmonies of
the Blind Boys.
The blend is toxic and hypnotic, especially on ‘Satisfied Mind’,
where Harper’s guitar weaves its magic behind Clarence Fountain’s
passionate gospel wail. A few of the songs don’t work quite as well;
‘Mother Pray’ is a plodding a capella and ‘There Will
Be A Light’ is a tad lightweight. But when it’s good, it’s
very good indeed. I’ve always had a fondness for Ben Harper’s
music but have only ever shown a cursory interest in the Blind Boys. I
find endless references to the Lord a touch grating, but have to say this
project works very well.
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John
Carpenter - Assault On Precinct 13
Record Makers 3 700078 409060 Reviewed by RP
John Carpenter’s B-Movie cult classic Assault On Precinct 13 was
loosely based upon the Howard Hawks western Rio Bravo and its avant-garde
minimalist soundtrack is widely credited with influencing many of the
action movie scores that followed as well as a the hip-hop and techno
sounds of the 1990s. Those repetitive bars of the main theme played on
a synthesiser reinforce an acutely atmospheric sense of isolation, oppressive
fear, loneliness, desolation and the overriding menace as faceless Los
Angeles gang members besiege the abandoned police station. Eerie electronic
effects and a relentless beat dramatically add to the claustrophobically
stark celluloid images. Archetypal moments abound.
The short but robust and laconic theme for his anti-hero Napoleon Wilson
is one that would be recalled in later films for Kurt Russell characters
likes Snake Pliskin (Escape From New York). Out of these sparse electronic
soundscapes Carpenter even manages to delicately create a groove to sensitively
deal with some of the film’s most shocking and difficult scenes.
These include that drive-by killing of the innocent girl buying ice cream
near the start of the movie and for the death of Julie during the early
stages of the Precinct gun battle. The transfer by French-based label
Record Makers has surprising clarity and depth perception for a mainstream
release.
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Marta
Gomez - Cantos De Agua Dulce
Chesky Reviewed by DD
Oh no, another bossa-lite album I thought.
Fortunately my hasty judgement had let me down again and against all expectation
this is a delightful set. Marta Gomez, a Colombian, has a lovely sensual
voice and is sensitively backed in this set by a well chosen band comprising
guitar, percussion and electric bass. The accompaniment is kept deliberately
simple allowing Gomez to shine. One track rolls silkily and seamlessly
into another in this set and all are strong but particular favourites
include the delicate, evocative opener ‘La Finca‘ (‘The
Farm’) remembering Gomez’s childhood home.
The lovely rolling ‘Seis’ with its pattering percussion, sinuous
accordion and a cappella closing chorus, the old Venezualan song ‘Tonada
de la Luna Ilera’ (‘Song of the Full Moon’) with Gomez’s
voice soaring above the simplest percussion, and the closing ‘Aguellas
Pequenas Cosas’ (‘The Simple Things’). This short song
where she is accompanied by just acoustic guitar and accordion is for
me the most heart-tugging of the set as, in a song learnt from her first
voice teacher, Gomez sings of the simple things in life, of poignant memories
that return at the most unexpected moments. This is a fitting close to
a wonderful album. Very well recorded in St Peters NYC by David Chesky
and Julio Santillan, this set is a real gem and is strongly recommended.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Lloyd
Cole and the Commissions - Rattlesnakes Deluxe Edition
Polypro 982 182-0 Reviewed by RP
In a decade dominated by the New Romantic Movement and synthesised pop
music there were few remarkable albums to write about. One of those rare
exceptions was the Lloyd Cole debut Rattlesnakes. Its sound, backed by
shimmering strings and dominated by vibrant keyboards and guitars, had
a refreshingly honest quality about it, while the intelligent lyricism
and freedom of expression was quite sublime. Those who simply dismissed
Cole’s regular use of literary, cinematic or philosophical allusions
as pretentious failed to see the wry, witty, frequently ironic and self-deprecatory
persona behind these songs. Thematically he went out and nailed his targets
to the wall with a series of tuneful, melodic, dryly humoured and wistful
numbers. ‘Perfect Skin’ critically observed the image making
industry, while others like ‘Forest Fire’ dealt with the hectic
nature and underlying pressures of life. All of the songs beautifully
moved the debate away from fragile interpersonal relationships to another
level with their internal dialogues and commentary on the divisive and
destructive social experiences of the Thatcher years. This two disc deluxe
edition not only re-masters the ten original songs but reels out the demos,
radio sessions, B-sides and out takes as well to the tune of a further
eighteen tracks. Live cuts of ‘Charlotte Street’ and radio
performances of ‘Patience’, ‘Rattlesnakes’ and
‘Speedboat’ should not be missed. |
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Perez
Prado Orchestra - The Best of Mambo
JVC SVCD1046 Reviewed by DD
Familiar now from innumerable TV ads Perez Prado know as ‘El Ray
de Mambo’ first brought the mambo to public attention and huge popularity
in the 1950’s with some of the decades biggest hits including ‘Cherry
Pink and Apple Blossom White’ (not for some reason included here),
and ‘Patricia’ which topped both the pop and R&B charts.
It was Prado’s band that indirectly kicked off the whole mambo craze
when Sinatra’s arranger and bandleader Sonny Burke released a successful
cover of Prado’s ‘Que Rico de Mambo’ renamed (as it
is here) as ‘Mambo Jambo’. Mambo’s real breakthrough
into mainstream popular music came with novelty songs like Rosemary Clooney’s
‘Mambo Italiano’, and Perry Como’s ‘Papa Loves
to Mambo’.
Perez, whilst he appealed hugely to the broader record-buying public never
enjoyed the success with New York’s Latin audience of his contemporaries
Tito Puente and Machito. His music was considered too simplified and commercial
in comparison. Despite all this the set is great fun when viewed as the
punchy pop it undoubtedly is, with its strident brass riffs, driving percussion
(cowbells to the fore), and vocal interjections. And whilst the start
to finish playing of this 63 minute compilation is too much of a good
thing, a few numbers to intersperse more weighty material makes for highly
enjoyable listening.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Shawn
Colvin - Polaroids
Columbia 519299 2 Reviewed by RP
In the absence of an album jam-packed with new Shawn Colvin songs we will
have to make do with this retrospective which spans the Grammy award winner’s
fifteen year recording career from Steady On to Whole New You. The bonus
track, which has not previously featured, is a lovely and quite softly
delivered version of Lennon and McCartney’s ‘I’ll Be
Back’. The lazy tempo and carefully weighted lyrics are beguiling
and reminds us that she can also brilliantly revisit other people’s
songs as well as perfectly execute her own material. Bob Ludwig re-masters
this and another fourteen classic Colvin numbers. These include ‘Diamond
in the Rough’ and ‘Shotgun Down The Avalanche’ and the
title track heard from her debut album as well as songs like ‘Round
Of Blues’ and ‘I Don’t Know Why’ (Fat City) and
‘Sunny Came Home’ and ‘Get Out Of This House’
lifted from A Few Small Repairs. Strong original songs and intelligently
structured covers help to make Polaroids a rewarding introduction to this
music or a welcome reprise for existing fans of these contemporary American
folk songs that compare so favourably to the works of a Joni Mitchell,
Joan Baez or Suzanne Vega. |
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Six
By Seven - 04
Saturday Night Sunday Morning Record snsm001cd Reviewed by MC
With this, their forth album, Six by Seven have done something that would
previously have seemed impossible. Previous purveyors of the finest in
dark brooding despair, they have made an album which can only be described
as uplifting.
Their debut was steeped in depression and bitterness, their second fuelled
by anger and their third furious and cynical. Without these emotions it
would be quite possible for this album to seem empty and pointless. Without
the fire of their angst what could drive this record on? And yet, this
album seems to be driven by something quite different – by hope.
Perhaps all this seems a little abstract, but it marks a distinct change
for the band. Stripped down to a lean three-piece, the band have changed
their sound dramatically. This record seems to have been influenced by
bands such as Spiritualised and the Stone Roses. This might be a new,
happier, more relaxed band, but they certainly know how to belt out a
good tune. But whereas previous Six By Seven albums have been consistently
excellent, right through the track-list, 04 can flag at times as the band
test their new formula.
If you’re looking for their best material, buy an older album. But
if you’re looking for something without the grinding depression
and raw fury, this might be more your taste.
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Steve
Earle - The Revolution Starts Now
Artemis RCD 17023 Reviewed by AH
Steve Earle is a brave and honourable man and a writer who always approaches
the art of songwriting with honesty and integrity. It’s no secret
that he holds no affection for the administration currently governing
his country; he’s spoken out on more than one occasion and his last
album contained a song that had half of America calling him a traitor
(John Walker’s Blues). He isn’t; what he is passionate about
justice and truth. He’s not anti-American – in fact, in his
own words he feels ‘urgently American’.
Earle comes from a (supposedly) democratic nation and as such exercises
his right to freedom of speech through his songs; The Revolution Starts
Now is his take on what he sees happening to his beloved country. It’s
a powerful statement, both lyrically and musically, and it packs a punch.
You don’t need to be an academic to understand the sentiments expressed
in songs like ‘Rich Man’s War’ and ‘F. the C.C.’
He’s angry and it spills out with vitrol: "F..k the F.C.C.,
F..k the F.B.I, F..k the C.I.A., livin’ in the motherf..kin’
USA." Steve Earle will always be his own man, He’ll continue
to write from the heart and stand up for what he believes in, and if you
don’t like what he does or has to say then brother that’s
your choice and, as the man says, "your motherf..kin right".
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Todd
Snider – East Nashville Skyline
Oh Boy Records OBR031 Reviewed by AH
It might be coincidence but Todd Snider’s latest record is released
on Oh Boy Records, the label owned by John Prine. Prine has recorded some
magnificent albums over the years and always includes a liberal dollop
of humour in his songs, something Todd Snider is also very good at. I
remember Johnnie Walker playing the hidden, untitled song on his Songs
From The Daily Planet album, a track about a band that don’t play
a single note and go on to mega-stardom and a spot on MTV unplugged!
East Nashville Skyline follows a similar path with songs like ‘Tillamook
Country Jail’, the true story of Snider’s incarceration for
something he insists he didn’t do. In the extensive liner notes
he claims "Jail was actually pretty nice (!) I just don’t think
I should have been there. I think I’m an alright guy!"
Snider has this uncanny knack of finding humour in the unlikeliest places;
take ‘Sunshine’ as an example, a song about a guy who trys
to kill himself but makes a right hash of it, or ‘The Ballad Of
The Kingsmen’, a talk song lamenting the mixed messages society
feeds our kids. Snider’s songs are clever, humourous, touching and
brilliantly crafted. He’ll tickle your musical taste buds and make
you cry and laugh out loud at the same time.
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Michelle
Shocked - Arkansas Traveler
Mighty Sound Reviewed by RP
Arkansas Traveler if memory serves me correctly was first released back
in 1992 and this new edition which has been expanded from fourteen to
twenty one tracks remains as musically controversial and demanding as
ever. Shocked looked right across the spectrum of American music and in
the process blurred the boundaries to recreate a vital and truly organic
sound for herself that is notable for its originality, substance and outspoken
sentiments.
Into the mix went blues, soul, gospel, folk and country tunes with Michelle
remaining remarkably true to those traditions while carving out a challenging
groove of her own. She is strong on the kind of storytelling that still
has a striking degree of relevance. Observations about inequality (Prodigal
Daughter) an attack on corporations (Strawberry Jam) or the simple wit
and country humour found in the title track resonate even though they
are built upon much older musical forms. Duets with the likes of Alison
Krauss, Doc Watson and Jimmy Driftwood delightfully capture the variety
and vibrancy present in these genres while at the same time throwing down
a real lyrical gauntlet. Of the new tracks a stunning acoustic studio
demo of ‘Come A Long Way’ should be prized above all.
But live cuts of ‘Worth The Weight’, ‘Blackberry Blossom’,
‘Down In The Arkansas’ and ‘Introducing Dollar Bill’
sparkle nearly as brightly.
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Aynsley
Lister - Live
RUF Records RUF1100 Reviewed by AH
In this country it’s rare for a twenty-something young man with
boy band good looks to be championing the blues, but make no mistake –
Aynsley Lister has got serious blues running through his veins.
Lister has been interested in the form since the age of eight, when he
used to hide away in his bedroom for hours and play along to his father’s
Freddie King, Eric Clapton and John Mayall records. He’s released
some very tasty albums along the way, always maintaining a heavy blues
streak but also incorporating fairly large doses of classic rock and funk
into the equation. Those rock influences were heavily prominent on his
last studio recording, with ‘Balls Of Steel’ paying homage
to AC/DC, one of his favourite hard rock bands.
Recorded in March 2004 in front of an enthusiastic audience at the Crossfields
festival in Germany, Live is 80 minutes of Aynsley doing what he does
best – loud, sweaty, bluesy rock n’ roll. There are a few
new tracks that fit seamlessly into the set alongside live favourites
like ‘Angel O’ Mine’ and ‘Everything I Need’,
but the standout track is ‘Sometimes It Gets To Me’, a 10
minute slowish blues with some jaw-dropping soloing and a deft touch.
Live is another fine release by Lister to add to his ever impressive back
catalogue.
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