Category: CD QuickTakes (Page 10 of 149)

Dan Wilson: Live at the Pantages

October 7, 2010 /


RIYL: Semisonic, Better Than Ezra, Gabe Dixon

It may not hit you all at once, but the more you listen to and read about singer/songwriter Dan Wilson, the more you realize just how many cool friends and colleagues the guy has. It’s not that he co-founded rock band Semisonic and had some overnight success with “Closing Time,” or that he won a Grammy when co-writing some tracks from the Dixie Chicks’ 2006 album Taking the Long Way. Wilson has written with or is slated to write with the likes of Josh Groban, Adele, the Bravery, Keith Urban, Jason Mraz and KT Tunstall. But he is as riveting a solo performer as you’ll ever see and hear, based on his timeless songs and instantly recognizable voice.

While he’s between studio albums, fans of Wilson can enjoy the digitally-released Live at the Pantages, recorded in Wilson’s hometown of Minneapolis and featuring songs from his acclaimed Free Life album from 2007, as well as a few of the old Semisonic stand-bys. He begins with a solo acoustic set on guitar and piano and then comes back with a full band set, both with his voice and the songs front and center. You won’t find a live album anywhere this clean, sonically. And the songs are bordering on stunning – in particular when Wilson plays “Honey Please” from Free Life, or “Secret Smile” from the landmark Semisonic album, Feeling Strangely Fine. But here is what separates Wilson from any other singer/songwriter – the two brilliant co-writes her performs here—“All Will Be Well,” with Nashville roots rocker Gabe Dixon, and “One True Love,” written along with the great Carole King and first appearing on Semisonic’s All About Chemistry. If you don’t have goose bumps now, you will when hear Wilson sing the latter. In all, Live at the Pantages is a truly awesome storytelling effort. (Ballroom Music 2010)

Dan Wilson MySpace Page

Alternative, CD QuickTakes, CD Reviews, Pop, Rock

Marnie Stern: Marnie Stern

October 6, 2010 /


RIYL: Hella, Steve Vai, Sleater-Kinney

Marnie Stern’s wackshit crazy combination of Van Halen-style guitar fingertapping and riot grrl rock really came together on her ridiculously named sophomore album that I will refer to in shorthand as This Is It. So much so that I named it the fifth best album of the decade. Now she’s back with her third album, which forgoes a marathon title and is just self-titled, thank God. Typing out that last one was a mother).

This Is It was an album of all peaks. Not only were all the songs amazing, but they were all manic explosions of emotion. Blistering combinations of lightning guitar work by Marnie and frantic breakbeats by Hella drummer Zach Hill with Marnie’s bizarre yet endearing stream-of-consciousness lyrics created a dream/acid-trip experience that was one of a kind. This album isn’t as insane as that, but it’s still pretty damn nuts. The biggest change is that Marnie actually slows things down this time around on tracks like “Transparency Is the New Mystery” and in the closer “The Things You Notice.” The down-tempo is jarring at first, but what the slower songs lack in energy, they make up for with melody and complexity.

The quieter numbers are the exception though, as most of the songs, like the awesomely-titled “Female Guitar Players Are the New Black” are trademark frantic and manic Marnie. “For Ash” is a track especially worth noting. A memorial to an ex who committed suicide, it has all the power, energy and emotion of any song on This Is It times a hundred. Maybe that’s why Marnie Stern isn’t as over-the-top as the previous album – she blew all the energy on that one track. Still, when the worst you can say about an album is that it’s only almost as good as an album that was one of the best records of the decade, that’s not much of an insult. (Kill Rock Stars 2010)

Marnie Stern MySpace Page

Alternative, CD QuickTakes, CD Reviews, Psychedelic, Rock

Raul Malo: Sinners & Saints

October 6, 2010 /


RIYL: The Mavericks, Roy Orbison, Texas Tornadoes

51jgaIohSgL._SCLZZZZZZZ_[1] Raul Malo is an awesomely gifted vocalist and musician, but his solo career has been long on quantity (seven albums in less than a decade) and short on quality control. Too often, his solo albums have given the impression that Malo’s years with the Mavericks wore him out – he’s been content to coast with covers projects, like 2006’s syrupy You’re Only Lonely or 2007’s country-focused After Hours, or specialty-market releases like The Nashville Acoustic Sessions and his Christmas album, Marshmallow World and Other Holiday Favorites. All of which have been fine, in their limited fashion, but nowhere near as exhilarating as those Mavericks records. Without a band to push him forward, it sounded like Malo was happy to keep things at a pleasant, undemanding drift – 2009’s Lucky One, which packed a dozen Malo originals and hearkened back to his days as one of country’s most exciting young performers, seemed like a pit stop between covers projects.

It’s a pleasant surprise, then, that he carries over some of that spirit with Sinners & Saints, a largely self-penned collection that Malo calls “as much of me as I’ve ever put on a record.” It’s brief – ten tracks and under 45 minutes – but its abbreviated length keeps Malo from indulging his weakness for drawn-out ballads, and the result is the loosest, most energetic studio album of his solo career. Recorded with a stellar supporting cast (including Augie Meyers and Shawn Sahm), Sinners highlights the breadth of Malo’s talents, with hints of pop, rock, country, and Tex-Mex in the mix – but it’s also a focused affair, an album where even the longest songs (like a six-minute cover of Rodney Crowell’s “‘Til I Gain Control Again”) feel lean and tightly arranged.

Raul Malo once seemed destined for superstardom, but his career lost momentum in the late ’90s, and Sinners & Saints probably isn’t going to change that. It does, however, prove that this once-prolific songwriter still has some gas left in the tank, as well as plenty of his old passion for playing in the borders between genres. The faithful will be pleased, and if you’ve got a little room in your musical diet for a restless troubadour with the voice of an angel, it just might make you a fan. (Fantasy 2010)

Raul Malo MySpace page

CD QuickTakes, CD Reviews, Country, Latin, Pop, Rock

Fran Healy: Wreckorder

October 4, 2010 /


RIYL: Travis, Travis, Travis

If you’re the principal songwriter and lead singer in a band, you will invariably be asked about going solo. If you actually decide to do it, prepare to be hit with one of the most unfair complaints in all of music: “It sounds just like your old band. Why bother going solo?”

Fran_Healy_01

The implication, of course, is that solo albums should sound drastically different than the artist’s day job, and for some, that is precisely the purpose. Most songwriters, though, write like they write, and asking them to change their approach is like asking them to breathe differently. No one ever accused Bryan Ferry of making solo albums that sounded too much like Roxy Music, and no one should be surprised, or disappointed, to discover that Wreckorder (pronounced ‘recorder’), the solo debut from Travis front man Fran Healy, sounds just like a Travis album. If anything, it’s cause for celebration, because it sounds like a The Man Who or The Invisible Band-era Travis album.

Lead track “In the Morning” is a slow-building minor key ballad with a galloping drum beat the likes of which Travis drummer Neil Primrose hasn’t seen in years. “Anything” would fit seamlessly next to anything from the Nigel Godrich-produced albums, and “Sing Me to Sleep,” a duet with Neko Case, trumps anything from the New Pornographers’ last album (and Case’s last solo album, for that matter). “Buttercups” is as perfect a first single for the album as one could dream up, blessed with climbing-falling chord progressions and that signature wave of melancholia washing over it all. Sometimes Healy gets a little too close to the old days, like on the banjo-plucking “Holiday” (it even does the four count intro on the drum sticks that appeared in every other song on The Man Who), but between the hypnotic “Shadow Boxing” and the hilarious, “Flight of the Conchords”-esque “Robot,” Wreckorder shows that Healy still has much to offer while not forgetting where he came from. Good to see you again, Fran. (Rykodisc 2010)

Fran Healy MySpace
Click to buy Wreckorder from Amazon

Adult Contemporary, Alternative, Artists, CD QuickTakes, CD Reviews, Pop

Sons of Sylvia: Revelation

October 1, 2010 /


RIYL: Bon Jovi, Aerosmith, Rascal Flatts

Don’t blame brother trio Sons of Sylvia if they are a bit pigeon-holed into the country music genre, because that’s not what they are. Sure, the band won a talent competition that led to a deal with 19 Recordings, and one of the band members was a backup singer in Carrie Underwood’s band, but their debut, Revelation, is no more country than Bon Jovi or Bret Michaels. Oh wait….yeah, there is much crossover these days. Let’s just say this is a rock album with moments of twang and leave it at that. And as debut albums go, this is a pretty strong set. The trio is led by singer Ashley Clark and the trio writes together with the help of folks like OneRepublic’s Ryan Tedder, who happens to be their cousin. And while Ashley has a strong voice, one of the drawbacks is that he tries too hard to show it off. The album opens with “John Wayne,” and this is the country rock song Bon Jovi couldn’t seem to write, but with too many vocal acrobatics a la Adam Lambert. But it’s a good one, as are most of the tracks on here. “Love Left to Lose” is a powerful gang-vocal anthem, “50 Ways” could find its way onto an Aerosmith album, and the current single, “I’ll Know You,” is pure pop power ballad. But the best track of all is “Song of Solomon,” a slowly building gem in which the vocal acrobatics are more appropriate. All in all this is a solid debut and this is a band that could have an extremely bright future. (19 Recordings/Interscope)

Sons of Sylvia MySpace Page

CD QuickTakes, CD Reviews, Country, Pop, Rock

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