Author: Mike Farley (Page 18 of 63)

Taylor Hicks: The Distance

March 20, 2009 /

It seems like a lifetime ago that Taylor Hicks was being crowned the champion of “American Idol” in its fifth season back in 2006. And while America clearly fell in love with this gray-haired wonder, Simon Cowell didn’t get it and neither did many critics, but Hicks’ debut album went platinum anyway. And while yours truly was a big fan of the material on that debut, the same can’t be said for Hicks’ latest, The Distance, released on his own Modern Whomp Records. There is no doubt this guy can sing with a trademark Joe Cocker-ish bluesy growl, but it’s pretty obvious that the recording budget was substantially less this time around, and the songs are mostly mediocre with performances at times reminiscent of cruise ship karaoke. Nevertheless, a few tracks do stand out, and Hicks is at his best when he tones things down for piano ballads – “What’s Right Is Right” and “Nineteen” are both heartfelt and destined for light rock radio repetition. And “Woman’s Got to Have It,” with fellow Idol alum Elliot Yamin, is a soulful and catchy closer. (LABEL: Modern Whomp)

Taylor Hicks MySpace Page

Adult Contemporary, American Idol, Blues, CD QuickTakes, CD Reviews, Pop, Rock

Steve Kilbey: Painkiller

March 13, 2009 /

Aussie alternative rock band the Church began making music almost a quarter century ago, and while that band perfected the art of lo-fi before lo-fi was even a term anyone used, it was singer, songwriter and front man Steve Kilbey who mostly dominated the creative aspect of the Church. Kilbey’s first solo effort in eight years, Painkiller, was released in Australia in 2008 and just recently in the U.S. on Second Motion Records. But Church fans should be hesitant at best to grab this or any of Kilbey’s solo work – not because he isn’t talented or that his hypnotic vocals aren’t as spot on as they were in the ‘80s, but because it sounds like Kilbey puts his these songs together in a musical lab. There’s just a lot of weird experimentation going on, with melody and cohesion being after-thoughts. Kilbey’s poetry background is evident in some of these tracks, in particular the opener “Outbound,” which sounds like a spoken-word piece with musical backing. “Celestial” and “Crystalline Rush” are dark and somewhat palatable, as is the catchiest track, “Oenone.” But when Kilbey breaks out the test tubes and beakers, as he does on the 12-minute instrumental track, “File Under Travel,” or on the (gasp) 31-minute long “Not What You Say,” you just might fall asleep before you realize what’s happening. (Second Motion)

Steve Kilbey MySpace Page

Alternative, Ambient, CD QuickTakes, CD Reviews, Indie Labels, Instrumental, Pop, Rock

Dexter Freebish: The Best of (The Other Side)

March 13, 2009 /

Dexter Freebish was one of those dot com-era bands that bridged a gap between alt-pop powerhouses that were slowly fading (think Toad the Wet Sprocket or Hootie) and those that were embracing their independence like never before (The Clarks, Better Than Ezra). There simply isn’t ever a place on any musical timeline where good, melodic pop/rock doesn’t have a place, and this five-piece Texas band is proof of that. Dexter Freebish released two albums beginning with 2000’s A Life of Saturdays, which included their John Lennon Songwriting Contest entry, “Leaving Town.” But after breaking up in 2005, lead singer Kyle (who mysteriously has no last name) and the rest of the band got back together for some shows, and found out there is still a market for their catchy fare. EA Sports, along with a publishing arm of Nettwerk Music, decided to release this greatest hits collection, The Best Of (The Other Side), including four new tracks, and history is being made before your very eyes, or something. The big “hits” are all here, including “Leaving Town,” “Prozak” (which actually WON the John Lennon contest) and “Higher,” and some of the newer stuff is pretty decent, in particular the stunning piano ballad “Walk on Water.” For the most part, Dexter Freebish is a decent band with nice, hooky songs, but they aren’t going to keep tastemakers up at night figuring out who heard them first. (LABEL: Electronic Arts)

Dexter Freebish MySpace Page

Alternative, CD QuickTakes, CD Reviews, Pop, Power Pop, Rock

Ernie & the Automatics: Low Expectations

March 6, 2009 /

When Brad Delp, lead singer of iconic rockers Boston, took his own life in 2007, it sadly marked the end of a musical era. But consider that there were four other original members of that band, and that they were all amazing musicians in their own right. Fast forward over 30 years from Boston’s debut, and two of the original members, guitarist Barry Goudreau and drummer Sib Hashian, have formed a new band called Ernie & the Automatics. This band was named after guitarist Ernie Boch Jr. and features the lead vocals of keyboardist Brian Maes, but the elements of Boston are there – the big classic rock guitar riffs and pounding backbeat, as well as bluesy elements throughout on their debut, Low Expectations. It’s hard to re-invent the wheel in this genre, and Ernie & the Automatics don’t try to. But even though the songs are less than memorable, it’s the musicianship, and in particular Maes’ Joe Cocker-esque growl, that drives the band. The best tracks are “The Good Times Never Last,” which sounds a lot like Boston’s “Rock & Roll Band,” as well as the driving, bluesy (and quite creepy) “I’m Gonna Haunt You.” (LABEL: Open E)

Ernie & the Automatics MySpace Page

Blues, CD QuickTakes, CD Reviews, Rock

Anya Marina: Slow & Steady Seduction Phase II

March 6, 2009 /

Anya Marina is an entertainment triple threat—she’s been a radio DJ, an actress, and is now fortifying her music career with a second album release, Slow & Steady Seduction: Phase II, released on Alexandra Patsavas’ Chop Shop Music label. Patsavas, one of the best-known film/TV music supervisors, placed one of Marina’s songs on the “Grey’s Anatomy” soundtrack and then signed her to the label. Marina’s unique, sultry vocal is a more alternative version of Gwen Stefani, and her playful songs on Slow & Steady are accented by the hipster production crew of Brian Karscig (Louis XIV) and Britt Daniel (Spoon). Daniel’s drum loops helped give Marina a creative spark and as a result the album is a leap from Marina’s earlier singer/songwriter fare. There are some great moments, especially on the opener “Move You,” the ultra-bouncy “Cut It Out,” and on “Vertigo,” which has an ‘80s, “Pretty in Pink” undertone. But on “Not a Through Street,” which starts out with just an acoustic guitar and Marina’s pure vocal, her appeal jumps through the roof. It doesn’t matter if the flavor-of-the-month artist is your thing or not, there will be something most everyone can like about Anya Marina. (Chop Shop/Atlantic)

Anya Marina ySpace Page

Alternative, CD QuickTakes, CD Reviews, Pop, Rock, Rock Babes

« Older posts Newer posts »

© 2026 Eat Sleep Drink Music

Theme by Anders Noren — Up ↑