Category: Artists (Page 35 of 262)

Steal This Song: Candi and the Strangers, “Nico Regrets”

It’s great to see the ‘___ and the ___’ trend come back to music names. The world used to be full of them – the band behind the late ’70s one-hit wonder “Driver’s Seat”? That would be Sniff ‘n the Tears – but it fell out of favor in the mid-’80s and has rarely showed its head since. But between Fitz & the Tantrums and Austin dream poppers Candi and the Strangers, we may be witnessing the next new/old band name trend. Which is fine with us, if it means no more of those goddamn triple word score band names that were clogging marquees for a while there.

Candi_and_the_Strangers_edit

A quick spin of 10th of Always, the band’s sophomore effort set for release in early February, makes us wonder how we missed their first album. This is gorgeous, shimmering pop, like Blondie covering the Cocteau Twins. And if you like this song, wait until you hear “The Weather Is Here, Wish You Were Beautiful.” Hypnotic bliss, this. Consider us entranced.

Click here to download Candi and the Strangers – Nico Regrets

Darius Rucker: Charleston, SC 1966


RIYL: Radney Foster, Brad Paisley, Hootie & The Blowfish


Hootie & The Blowfish might have sold millions of copies of 1994’s Cracked Rear View album, but by the early part of the ’00s, they could barely pull a top-50 placing with the albums. Possibly not coincidentally, that’s when the band’s frontman, Darius Rucker, decided to step out of the band long enough to release his 2002 solo debut, Back to Then. That record found Rucker exploring his R&B side. It didn’t sell very well. Six years later, he tried again with a second solo album, Learn to Live, this time deciding to go country. The result: three number one singles on the Billboard country music chart. Bet you can’t guess which of these albums he used as the template for his latest release…

The title of Charleston, SC 1966 was inspired by Radney Foster’s breakthrough record, Del Rio, TX 1959, and if it isn’t necessarily as groundbreaking as Foster’s classic work (it isn’t), there are still moments where it can match it jangle for jangle. (Indeed, some of the jangling on Charleston actually comes from Foster.) There’s plenty of radio-friendly country pop out there, but precious little of it has the kind of crossover appeal that Rucker’s familiar voice can offer, and when it’s singing songs as catchy as “This” and “Come Back Song,” airplay is all but guaranteed.

Sonically speaking, a Rucker newbie listening to the songs from Charleston and Learn to Live on “shuffle” would probably be hard pressed to tell which songs came from which albums, so closely do they follow the same template. Still, you’ve got Bela Fleck on banjo adding a coolness factor, Brad Paisley (who duets with Rucker on “I Don’t Care”) helping to up his country cred, and a Kara DioGuardi co-write (“This”) to guarantee a hit single on both the country and the pop charts. On top of everything else, it really doesn’t sound that different from Hootie. That might not impress you, but once upon a time, 16 million people dug their sound, and based on the success of Learn to Live, it’s clear that a couple of million of them are happy to hear Rucker’s voice again. Can you really blame him for sticking to the same formula for Charleston? (Concord 2010)

Darius Rucker official website

Paul McCartney & Wings: Band on the Run – Deluxe Edition


RIYL: Paul freaking McCartney


It has been said that, once upon a time, Paul McCartney and Wings were so huge that befuddled youngsters would actually ask their parents, “Hey, did you know Paul McCartney used to be in a band before Wings?” Even as a kid, it always struck me as one of those apocryphal tales that sounded great but that you only ever heard from a friend who heard it from another friend who swore it was true, cross his heart. And now…? Geez, do the kids even know that Wings existed? Given that McCartney formally disbanded the group almost 30 years ago, I’d say the odds are pretty slim. If you’re looking to give them an education, though, there’s simply no better place to start…and, some would say, finish…than 1973’s Band on the Run, the reissue of which serves as the kickoff for Concord Music’s grand reintroduction of McCartney’s back catalog to the marketplace.

This is hardly the first time Band on the Run has been reissued, of course, but as much as you may want to blast Macca for offering this material to the masses yet again, you have to give the old man credit: he’s offering it up in enough different formats and with enough hard-to-find or previously-unavailable music and video that just about everyone is going to curse and say, “Dammit, he’s gotten me again.” They’ll be smiling as they do it, though, especially if they’re buying the deluxe edition, which, in addition to being housed in a gorgeous, photograph-filled hardcover coffee table book, contains 3 CDs – a remastered version of the album, a disc of bonus tracks, and an audio documentary – and a DVD which features videos for “Band on the Run,” “Mamunio,” and “Helen Wheels,” album promos, and “One Hand Clapping,” a rarely-seen live performance by the band from Abbey Road Studios.

As for the actual album…well, there’s a reason why it’s taken pole position in the reissue campaign: it’s the jewel in McCartney’s crown that never loses its luster, the one that even John Lennon admitted was great. Few albums of any decade start off with songs as spectacular as “Band on the Run” and “Jet,” but then you’ve got “Bluebird” and “Mrs. Vanderbilt,” followed by “Let Me Roll It” and “Mamunia.” There’s no point in reeling off the rest of the tracks. All you really need to know about Band on the Run is that it’s the only Paul McCartney album that you absolutely, positively must own…which is why you probably already do. Unfortunately, there’s no way the presentation of your copy is as impressive as this new Deluxe Edition. Sorry, fans: you’re just going to have to buy it again. (Concord 2010)

Paul McCartney official website

Crowded House: The Very Very Best of Crowded House


RIYL: The Beatles, The Everly Brothers, Squeeze

Picking songs for a Crowded House compilation is a fool’s errand. The British press was only slightly kidding when they said that Neil Finn pisses genius; the first three albums he made as Crowded House after dissolving his brother Tim’s band Split Enz in 1984 (Tim had left the band earlier that year) are about as perfect as pop records get, and the band’s fourth album, 1994’s Together Alone, is pretty damned good, too. This compilation, the second attempt to condense the band’s best work to a single disc, has an even harder task in that it includes tracks from the band’s fifth album, 2007’s Time on Earth. Five good to great albums, sliced and diced to one disc, and it’s supposed to be the very, very best of the band.

Nope.

Still, The Very Very Best of Crowded House is no misfire either, since it would have been filled with beautiful, haunting melodies and Finn’s trademark lyrical paranoia regardless of which songs had made the cut and which ones had been forsaken. But at this stage in the game, this is a two-disc affair no matter how you slice it, and as luck would have it, Capitol has released a two-disc version of this set as well. For newbies, that is the way to go, as the single-disc version of this set is simply missing too many great – and nearly all of the upbeat – moments. The band’s first two albums are reduced to a mere four songs, only one of which came from the criminally underrated Temple of Low Men (1988). Together Alone and 1991’s Woodface, meanwhile, account for over half of the songs here. Perhaps they chose to favor the later material of the Capitol years in order to keep the set more in step with the band’s recent work, but doing so makes for the most dour collection of the Capitol years that one could assemble.

The Very Very Best of Crowded House is a four-star collection of a five-star catalog. Go for the two-disc set instead; it costs more, but with the addition of “Hole in the River,” “World Where You Live,” “Now We’re Getting Somewhere,” “Into Temptation,” “Whispers and Moans” and “I Feel Possessed,” that set opens doors to the band’s work that the single-disc set doesn’t even acknowledge. This is good, but more – and more balance – would have been better. (Capitol 2010)

Crowded House MySpace page
Click to buy The Very Very Best of Crowded House from Amazon
Click to buy The Very Very Best of Crowded House (Two-Disc set) from Amazon

My Chemical Romance: Danger Days: The True Lives of the Fabulous Killjoys


RIYL: Queen, Cheap Trick, Oasis

My Chemical Romance have balls of steel. They shed their pissed-off jilted lover skin in favor of a full-blown rock opera (2006’s The Black Parade), even though they could have made millions mining teen angst for the next ten years. Then, perhaps to diffuse any overblown build-up over their new album, they release a breakneck rave-up as the first single, and gave it the ‘you’ve got to be kidding me’ title of “Na Na Na (Na Na Na Na Na Na Na Na Na).” It’s a genius move, really – sneak in the back door, despite being one of the biggest bands on the planet. It makes them look like they’re still hungry, and God knows the pop world (and the world in general) could use a little humility.

The problem is, it may have worked a little too well. With Danger Days: The True Lives of the Fabulous Killjoys just now hitting shelves and e-servers, “Na Na Na” has already peaked at a slightly disappointing #10, and the label has moved on to the second single. Flash back to 2006, when “The Black Parade” dominated radio for months. You have to think that the label is a little nervous at this point, though they shouldn’t be: Danger Days is a powerhouse of an album, positively stuffed with potential singles and shows the band once again exploring new territory, both sonically (keyboards!) and musically.

The band has cooked up another gonzo concept for the album – a group of desert renegades fighting a massive company in 2019, accordingly to Wikipedia – but it doesn’t weigh down the individual songs. “Sing” is a reach-for-the-rafters singalong, while “S/C/A/R/E/C/R/O/W” out-Oasis’ Oasis. “Party Poison” is another power pop-ish rocker, and “Summertime” is downright tender, if bleak. The band’s reach had been a bit farther than its grasp in the past, but the songwriting steps up in a big way here.

It would have been easy for My Chemical Romance to shy away from the epic scale of The Black Parade and opt for a minimalist approach to the follow-up, so it is to their credit that they not only went for it on Danger Days, but pulled it off. For all the bashing that the major labels take these days, it’s nice to see one of them take off the reins and let their horses run free. (Reprise 2010)

My Chemical Romance MySpace page
Click to buy Danger Days from Amazon

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