Author: Jeff Giles (Page 25 of 41)

Wild Light: Adult Nights

Not many rock bands come out of New Hampshire – and even fewer manage to score deals with labels as major as Sony – so it’s hard not to root for Wild Light on principle alone; unfortunately, principle may be all that gets you through chunks of Adult Nights, the quartet’s full-length debut. The band has an interesting sound that wobbles between Semisonic and Arcade Fire – and the latter comparison is one you’re likely to hear more than once, given that keyboard player Tim Kile was in an early version of that band – but they need better material. Nights lets you know they’ve got the chops – opener “California on My Mind” kicks things off right, with its harmonica, stomping beat, and repeated refrain of “fuck California,” and “Call Home” is a lovely piano-led ballad that recalls Dan Wilson before he gave in to his Carole King fetish – but those high points only serve to underscore just how ordinary the rest of the disc can be. There aren’t any bad songs here, but there are a lot of well-meaning musical exercises in search of hooks, not to mention varying tempos – much of Adult Nights glides by at the same middling pace. If we were living in a different era, it wouldn’t be out of the question to hope Wild Light’s A&R rep stuck with the label long enough to shepherd the band through a few more albums until they were ready for their big break. Those days are long gone, unfortunately, but if they get lucky enough to reach a broad audience with Adult Nights, it also isn’t out of the question to imagine that this band could develop into something really special. (Columbia/StarTime International 2009)

Wild Light MySpace page

Justin Townes Earle: Midnight at the Movies

Here’s something to make you feel older than dirt, Steve Earle fans: Not only is Earle’s son a grown-up singer/songwriter in his own right, but he’s releasing his second album on March 3 – and he already sounds as weary and worldly wise as his old man did on 1996’s I Feel Alright. But don’t look to the elder Earle’s music for points of reference when listening to Midnight at the Movies – like his old man, Justin Townes Earle doesn’t boast a classically strong set of pipes, but his voice is clearer and his songs generally better-kempt than his dad’s, wobbling just a little more gracefully down the line between rock and country. What the album sounds a lot like, actually, is the Replacements’ All Shook Down, only with slightly more consistent songs – a similarity brought into relief by Earle’s sleepy cover of the ‘Mats classic “Can’t Hardly Wait.” Earle also kinda-sorta covers the standard “John Henry” here, but for the most part, these songs are self-penned, and they stand up to the best that AAA/alt-country has to offer. Never mind the sophomore jinx – Earle sounds like he’s been at this forever, and might have enough stories in his guitar case to keep on rolling for a lifetime. If you’re a fan of the genre, Midnight at the Movies is not to be missed. (Bloodshot 2009)

Justin Townes Earle MySpace page

Jim Brickman: Ultimate Love Songs – The Very Best of Jim Brickman

Counting compilations, the ballad-loving pianist Jim Brickman has released an astounding 22 albums since 1994, all of them virtually indistinguishable from one another to anyone not cursed with a bottomless thirst for treacle and a superhuman tolerance for schmaltz. Album number 22, Ultimate Love Songs: The Very Best of Jim Brickman, collects some of Brickman’s best-known collaborations with vocalists, adds four new tracks for good (?) measure, and even tacks on a wonderful liner notes essay from Brickman himself (“My songs calm the frenzy, and wrap the listener in a soothing blanket of melody”). If you’re a fan of early ‘90s adult contemporary music, Ultimate Love Songs is a veritable feast for the ears, featuring Martina McBride, Michael W. Smith, Collin Raye, and many others (oh yes, There Will Be Bolton) – but if you’ve got any sort of affection for rock music, then listening to this album will make you want to die. It’s just one hokey love song after another, many of them performed by cornpone country singers well past their commercial prime (two notable exceptions: Wayne Brady, whose vocals on “Beautiful” will make you wish a bitch had choked him, and Jane Krakowski of “30 Rock). It’s calculated, connect-the-dots stuff that all sounds pretty much the same, and a little of it goes an awfully long way – but if you’re one of Brickman’s many, many fans, it’ll give you another soothing blanket of melody to cuddle up under until Album 23 comes along. (Time Life 2009)

Jim Brickman MySpace page

Company of Thieves: Ordinary Riches

If Edie Brickell was a little more of a rocker – and had a strong literary fetish – she might sound like Genevieve Schatz, lead singer of Chicago’s Company of Thieves. By dint of steady touring and strong Windy City support, the band managed to turn its 2007 debut, Ordinary Riches, into a DIY success – one which Wind-Up is now seeking to take national with its licensing deal for the record, a deal that includes heavy promotion on iTunes and the talk show circuit, as well as a string of dates opening for labelmates Thriving Ivory. Whether the big push is a result of the label’s belief in the band or simply a function of a typically weak first-quarter release schedule, it’s still a remarkably lucky break for Company of Thieves; the band’s music is enjoyable enough, but nowhere near as colorful as you might expect, given their penchant for quoting Oscar Wilde. Ordinary Riches contains elements of rock, blues, and folk, but major chunks of the record sound like nothing so much as a band marking time until a musical identity drops in its lap. Given enough opportunities, they may actually find one – songs like the closer, “Under the Umbrella,” hint at a sound that could rebuild the bridge between old-school AOR and Top 40 – but in the meantime, this is a fairly Ordinary debut. (Wind-Up 2009)

Company of Thieves MySpace page

Coby Brown: Stars & Curses

Building a career as an indie musician is hard enough without having to deal with serious real-world issues – like, say, being diagnosed with cancer – but those are exactly the cards that Coby Brown was dealt a few years ago. To his credit, Brown took his diagnosis in stride, releasing an EP (2007’s Time Is Now) that whetted appetites for his first full-length, Stars & Curses. Happily, Curses delivers on Time’s promise, offering up 10 pleasantly polished cuts of gently woven singer/songwriter pop goodness. Brown’s style isn’t showy – he leads off with the somber-to-a-fault “4th of July,” and on a number of tracks, he drenches his vocals in wide swaths of reverb – but the songs speak for themselves. Fans of artists like Josh Rouse and Josh Ritter will find a lot to love here; Brown’s voice is strong and slightly reedy around the edges, giving the music just enough homespun edge to keep things grounded. Will Golden’s production is another strong selling point – in more commercially oriented hands, tracks like the widescreen “Daylight” and yearning “Madman” would aim for glossy bombast rather than honest emotion. Nothing on Stars & Curses grabs you by the collar right off the bat, but give it time – it’ll grow on you and refuse to let go. (self-released 2009)

Coby Brown MySpace page

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