Author: Lee Zimmerman (Page 11 of 20)

Sarah Bettens: Never Say Goodbye

September 4, 2009 /

Formerly the voice of the internationally successful band K’s Choice, Belgian-born Sarah Bettens has made only modest progress in her efforts to garner wider solo recognition on this side of the Atlantic. Her last effort, Shine, showed she had the potential; with songs that veered from quiet contemplation to full-throttle rockers – aided and abetted by a bittersweet vocal informed by wistful reflection – Shine’s songs appeared immediately engaging. Think Carole King’s effusive optimism tempered by the guarded desire of Jewel and Fiona Apple.

This time around, Bettens takes a more sinewy route, adapting an approach that finds her keeping company with classic torch singers like Nina Simone, Ella Fitzgerald and other divas of a barroom variety. Bettens recorded several of these songs before a live audience, and judging by an audible audience response, she was well received. She ups the familiarity factor by covering a pair of standards – “Cry Me a River” and “I Can’t Make You Love Me” – but even her originals strike an immediate connection courtesy of her sultry, seductive vocals and unobtrusive piano-based arrangements. In fact, Bettens’ voice oozes emotion and the quiet nocturnal settings suggest that the introspection suits her well. Never Say Goodbye may not represent the grand hello she needs to increase her following, but it does affirm the fact she’s clearly arrived.

Sarah Bettens MySpace page

Adult Contemporary, Blues, CD QuickTakes, CD Reviews, Melodramatic, Pop

A.A. Bondy: When the Devil’s Loose

September 4, 2009 /

A.A. Bondy’s penchant for creating melodious tomes belies his aggressive origins as point man in the hardcore Southern grunge outfit Verbena. While the group racked up numerous Nirvana comparisons – and even enticed Dave Grohl to produce their major label debut – it was fortuitous that the band eventually opted to go their separate ways. That allowed Bondy time and motivation to regroup and, in fact, refocus his direction. His first solo outing, American Hearts, turned some heads, but When the Devil’s Loose will likely be the one to draw the most attention, thanks to a cache of hollow-eyed balladry, supple melodies and a sublime sense of songcraft. The album gets off to a slow start – mellow, laconic, sad and subdued — but as it progresses, the pace picks up, and with it, the hooks become better defined. “On the Moon” betrays a hint of antebellum ambiance, almost as if it came from the pen of Stephen Foster. “I Can See the Pines Are Dancing” and “The Mercy Wheel” are quietly compelling, an underlying determination punctuating the restive posture. Admittedly, When the Devil’s Loose takes further listens to fully appreciate its subtlety and nuance, but any time invested ultimately becomes time well spent. (Fat Possum 2009)

A.A. Bondy MySpace page

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

Sam & Ruby: The Here and the Now

September 4, 2009 /

Like many classic couples before them – Marvin and Tammi, Johnny and June, Gram and Emmylou – Sam Brooker and Ruby Amanfu make music that affirms their mutual affection. Nevertheless, this pair navigates a wide divide, from the seductive soul of “Too Much” and “Ain’t Love Something” to the rootsier realms of “The Suitcase Song” and “Need Me Less.” While most of the songs dabble in softer hues, the supple arrangements – a hint of violins on “Heaven’s My Home,” a bit of brass on the aforementioned “Too Much” – vary the shadings and add to the allure. Although The Here and the Now marks the duo’s debut, one of its entries – “Heaven’s My Home” – garnered a Grammy nod and was also selected for the soundtrack to “The Secret Life of Bees.” If The Here and the Now is any indication, Sam & Ruby have a promising future.

Sam and Ruby MySpace page

CD QuickTakes, CD Reviews, Folk, Pop

Tim Easton: Porcupine

August 28, 2009 /

After four albums of portraying himself as the sensitive singer/songwriter type, Tim Easton returns to his roots and offers up a kinetic collection of jittery, frayed and unhinged rock ‘n’ roll clearly designed to usurp any more melodic impressions. As its title implies, Porcupine is embossed with a jagged edge and a prickly sensibility, given there’s only two actual ballads to speak of – “Stone’s Throw Away” and “Long Cold Night in Bed” – and they’re a moribund selection at that. “Seventh Wheel” offers the most orthodox attempt at conveying purely catchy choruses, but the rest of the set comes across as a cache of edgy, agitated, insurgent leanings, with at least a pair of tracks – “Get What I Got” and “Baltimore” specifically – suggesting that Easton may have sourced his inspiration from two of rock’s better-known procurers of angst and outrage, John Lennon and Steve Earle, respectively. And speaking of influences, it’s hard to avoid the comparisons churned through “Northbound,” a deft reflection of Creedence Clearwater Revival in early swamp-infested mode. Still, Easton also manages to maintain his knack for pointed – and poignant – observation, via what ultimately gels as the album’s standout selection, “Broke My Heart.” “There are only two things left in this world / Love and the lack thereof,” he sings, oozing a combination of resolve and recognition.
Fortunately, for all its unsettled, topsy-turvy miasma, Easton finds some stability residing at the heart of this foreboding beast.

Tim Easton MySpace page

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

Crosby Loggins: Time to Move

July 17, 2009 /

Despite often unrealistic expectations, there’s been an abundance of musical offspring all too anxious to enter their parents’ trade. Take the Wainwright kids, Ben Taylor, Teddy Thompson and, of course, the Bobster’s boy Jakob as examples of those who have secured successful careers based on both talent and a famous surname. Then there’s those unfortunate few who were named after iconic associates apparently near and dear to daddy’s heart. (Justin Townes Earle, anyone?) How’s that for a not so subtle sign the folks expect success in the family business? Talk about parental pressure! Take note, then, that Crosby Loggins is Kenny’s kid, not another combo combination appropriated by the Cros, sans Stills and Nash. In truth, young Mr. Loggins doesn’t sound a whole lot like papa, although it could be said he shares a similar penchant for pure pop fare and radio-ready intents. Still, it’s a shame that this debut disc belies its title and settles instead for a generic sound that does nothing to bend the boundaries. John Mayer and Jason Mraz appear to have set the standard here (the former even contributes a guitar solo on the title track) and while aptly dubbed songs such as “Good Enough” and “Radio Heart” raise expectation for regular rotation on the airwaves, there’s little that leaves a mark for the long term. A decent beginning perhaps, but if Loggins is truly anxious to fill his father’s shoes, let’s hope the time to move forward isn’t long in coming. (Jive) – Lee Zimmerman

Crosby Loggins MySpace page

Adult Contemporary, CD QuickTakes, CD Reviews, Pop

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