Month: September 2009 (Page 2 of 17)

Monsters of Folk: Monsters of Folk

September 29, 2009 /


RIYL: Hem, The Weepies, Bittersweets

The term “super group” is bandied about all too frequently, often arousing great expectations that are rarely fulfilled. The door to disappointment is left wide open; participants hedge when it comes to contributing their best songs or find their creativity stifled when compromising to serve to other egos. Yet while it’s rare to witness the second coming of an all-star outfit like Blind Faith or Crosby Stills and Nash, a blending of big names inevitably cranks up the curiosity factor regardless.

On the other hand, a summit session involving lo-fi provocateurs M Ward, Conor Oberst, Mike Mogis and Jim James (AKA Yim Yames) might be greeted with some hint of suspicion, given the fact none of them is known for emphatic exposition. Surprisingly then, this, their first recorded collaboration, comes across as significantly more inviting and accessible than just about anything these individuals have managed on their own. While the name of the conglomerate indicates a tongue planted firmly in cheek, the songs themselves are straightforward and sincere. What’s more, given the fact that the songwriting is shared collectively and that all the instrumentation is doled out between them, the set is surprisingly consistent, showing equal input from all four contributors. And though most of the music is on the mellow side, the melodies make an emphatic impression – from the folkie sing-along of “Man Named Truth” and the gentle caress of “Magic Marker” and “His Master’s Voice,” to the breezy country sway of “The Right Place” and the steady ascent of “Whole Lotta Losin’” and “Ahead of the Curve.” They’ve done their ongoing outfits proud, while making what may well be the best album of their collective careers. (Shangri-La 2009)

Monsters of Folk MySpace page

Americana, CD QuickTakes, CD Reviews, Emo, Folk, Melodramatic, Rock

Guy Clark: Somedays the Song Writes You

September 29, 2009 /


RIYL: Townes Van Zandt, Steve Earle, Kris Kristofferson

Guy Clark seems like the kind of guy who would happily buy you a beer and then swap some stories. It’s an impression reflected by the easy affability suggested in his songs, an unpretentious everyman attitude in this new album’s entries, “Somedays You Write the Song” and “The Guitar,” each an unassuming narrative offering a humble nod to his muse. In fact, Clark’s modesty is unnecessary; as the writer of such songs as “Desperados Waiting for a Train,” “L.A. Freeway” and innumerable other standards, he’s become one of Nashville’s most dependable songsmiths.

Not surprisingly then, Somedays the Song Writes You finds Clark doing what he does best, sharing everyday observations and intuitive introspection — poignant, affecting and etched like always from a knowing perspective. Clark’s palette encompasses a brittle mix of world-weary resignation and tentative optimism, with songs such as “Hemingway’s Whiskey,” “Eamon” and the remorseful “Maybe I Can Paint Over That” taking their place among the most impassioned entries in his repertoire. Still, Clark doesn’t click with every entry. “Hollywood” and “Wrong Side of the Tracks” trudge along without ever gaining momentum, and a cover of his late pal Townes Van Zandt’s “If I Needed Someone,” while an admirable choice, fails to add anything to the original. Fortunately though, these are minor quibbles, because ultimately, Somedays The Song Writes You proves worthy of one terrific Guy. (Dualtone Music 2009)

Guy Clark website

Americana, CD Reviews, Country

The Black Crowes: Warpaint Live (DVD)

September 28, 2009 /


RIYL: The Allman Brothers Band, Widespread Panic, The Rolling Stones

The Black Crowes hit the road in the spring of 2008 for a mini-tour that featured a nightly first set of the just-released Warpaint album being played in its entirety. This show from the Wiltern Theater in Los Angeles captures the band on a hot night. Vocalist Chris Robinson has got his mojo working while then-new members Luther Dickinson (lead guitar) and Adam MacDougall are fitting right in.

Warpaint was the band’s first new studio album in eight years and the band is clearly energized. General consensus has it that the band’s new 2009 album, Before the Frost… Until the Freeze, has already surpassed Warpaint with an even stronger batch of tunes, but as drummer Steve Gorman has noted in a recent interview at Jambase.com, Warpaint was pivotal for the band in helping them regain their musical “compass.”

Tunes like “Goodbye Daughters of the Revolution” and “Evergreen” benefit from Dickinson’s charged leads and backing harmonies from Charity White and Mona Lisa Young. Guitarist Rich Robinson and drummer Gorman form the band’s backbone, laying down a Stones-meets-Zep vibe on “Wee Who See the Deep.” Solos by Dickinson and MacDougall surpass the studio performance to demonstrate why the Black Crowes have always been more about the live shows, though they generally turn out stronger and more cohesive albums than most jam bands. Dickinson moves to mandolin for the poignant “Locust Street,” with Chris Robinson pouring on the soul. As with the album, the highlight of the set is “Movin’ on Down the Line,” the first song written for the album, an uplifting psychedelic rock tour de force.

The second set is only six songs, but features stellar covers of Delaney & Bonnie Bramlett’s “Poor Elijah,” the Bramlett/Clapton gem “Don’t Know Why,” and the Stones’ “Torn and Frayed,” a tune tailor made for the Robinson Brothers harmony vocals. There’s also an extended work out on “Bad Luck Blue Eyes Goodbye.” This short but sweet second set is what elevates the DVD from three to four stars, as the band really digs in deep. (Eagle Rock Entertainment 2009)

Blues, Concert DVDs, Rock

Dwight Twilley: Out of the Box

September 28, 2009 /


RIYL: Richard X Heyman, Jason Falkner, The Smithereens

For some artists, an album consisting solely of cover songs would seem a fallback tactic intended to simply buy time. However, coming from Dwight Twilley, the concept finds an appropriate fit with his power pop M.O., reflecting the music that provided his earliest inspiration. And while the majority of his cover choices on this new LP might negate the need for a redo, Twilley manages to impose his indelible imprint on each, making them a good fit with his own catalogue in the process.

Truth be told, Out of the Box doesn’t opt for the obscure. In fact, most of the material is – to say the least – pretty well worn. Songs like “Secret Agent Man,” “Good Golly Miss Molly,” “Stand by Me” and a well-stocked selection of Beatles standards clearly veer towards the obvious. Even the color photo – a psychedelic headshot – offers a retro reference by replicating Richard Avedon’s famous kaleidoscopic portrait of John Lennon.

Happily then, the treatments are anything but ordinary. Aside from the fact that he opts to strip down the arrangements to a basic rock ‘n’ roll motif, Twilley applies his vocals with an angst and intensity that gives these tracks an amped up sense of urgency and desperation. The Bee Gees’ “Holiday” finds a distinct sense of desperation while John Lennon’s “In My Life” echoes with decided remorse. Even the droning “Tomorrow Never Knows” finds an added element of edge and desire.

Inevitably, there will be those who lament the fact that Twilley hasn’t anything original to offer. Indeed, given the recent abundance of rarity collections and other material from his archives, an album of new material would seem long overdue. Suffice it to say, Out of the Box only adds to the anticipation. (Gigatone 2009)

Dwight Twilley MySpace page

CD QuickTakes, CD Reviews, Power Pop, Rock

Warner and YouTube agree to music video deal

September 28, 2009 /

YouTube

When YouTube and Warner failed to reach a licensing agreement last December, the music group removed all of their music videos from the beloved website. Talks have since resumed, and the two are close to completing a deal that will put videos from Madonna, Green Day, and label-mates back on YouTube.

What hasn’t been reported, so far: The deal terms themselves. Neither company is talking, but sources familiar with the negotiations tell me the new pact will be similar to the one Google’s (GOOG) video unit struck earlier this year with Universal Music Group.

That deal created Vevo, a sort of “Hulu for music videos” owned by Universal and Sony (SNE). So think of Warner’s deal as a “son of Vevo”.

The big idea is the same: Try to create more value for videos by limiting their distribution and creating a more ad-friendly atmosphere around them, and share ad revenue between YouTube and the videos’ owner.

Then there’s the ad platform itself: I haven’t been able to get a concrete definition of what this is supposed to look like , but for now I’m imagining something like the “channels” YouTube has made for partners like ESPN, except they’d be made on an artist-by-artist basis.

All in all, this sounds like a fair deal. Warner loses a guaranteed revenue stream, but if its contention about the value of its videos is correct, it will make even more than it did under the old arrangement. Meanwhile YouTube gets to hang onto “premium” inventory, without being locked into the kind of pay-per-play arrangement that helped drive the site’s expenses sky-high.

While it’s unclear when Vevo will launch, remember that the site will only stream videos from Universal artists. This potential deal with Warner will keep its content on YouTube. Of course, this is all subject to change.

News

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