Category: CD QuickTakes (Page 108 of 149)

Taxi Doll: Here and Now

Taxi Doll combine rock music (and a hot female lead singer) with electronica in a way that may draw comparisons to Garbage. In fact they describe themselves as “Garbage meets Blondie.” However, the reality is that they are more like Garbage minus Blondie in that they have much of the electronic sound and high production quality of Garbage, but forgot to add the edgy attitude and dark side that Shirley Manson and company are so well known for. Not only does the band lack attitude on their debut album Here and Now, they are also lacking anything that remotely resembles something close to memorable, good or bad. This album is the sound of “blah”, sonic beige wallpaper, utterly forgettable and harmless. It lacks the punch of better electronic pop music like Robyn and also lacks the ear-splitting awfulness of over-produced debacles like Katy Perry. If you hate pop music you’re not going to be driven crazy by Taxi Doll, and if you like pop music there’s nothing you’ll go crazy over. Taxi Doll is a suitable name, because this is a group that has about as much emotion and depth as a plastic Barbie doll. (Antidote 2008)

Taxi Doll MySpace Page

Lee Ann Womack: Call Me Crazy

Lee Ann Womack has been around for a while on the country radio scene, and while we can poke holes in the genre all day long, we can’t poke anything at someone who has a really good voice and who picks good songs to record. A lot of the music coming out of Music Row these days is absolute schlock, but Womack and her team have done a nice job of finding good material that suits her as an artist on her latest album, Call Me Crazy. In fact, if you take the twang out of Womack’s voice, a lot of the songs more closely resemble timeless country/pop along the lines of Crystal Gayle or Linda Ronstadt, especially on the likes of “Either Way” or “I Found It in You.” But she also has a Dolly Parton-ish throwback thing going on, particularly on lead single “Last Call,” “Solitary Thinkin’” or “The Bees.” Producer Tony Brown adds some nice touches and some of George Strait’s band on Call Me Crazy, and while there are no magical tracks such as Lee Ann’s smash “I Hope You Dance,” this is a more complete collection of good country music. (MCA)

Lee Ann Womack MySpace Page

Sandra McCracken: Red Balloon

Derek Webb’s better half has raised her Q factor considerably this year, first with the dazzling Ampersand EP with husband Webb and now Red Balloon, her sixth solo album. Split into two sides – literally, the album contains two CDs, each housing five songs – the album features the kind of wistful acoustic pop that Sheryl Crow might make after listening to a bunch of Sarah McLachlan records, though Crow hasn’t written a song as catchy as “Lock and Key” or “On the Outside” in years. Sometimes the album gets a tad too maudlin, as on “Saturn’s Fields,” but there is no denying that McCracken is a gifted singer and songwriter in an age where anyone with a guitar and a notebook filled with Dear John letters fancies him or herself a gifted songwriter. That she’s not playing these songs on a larger stage is borderline criminal. (Sandra McCracken Music)

Sandra McCracken MySpace page

Sixpence None the Richer: The Dawn of Grace

When Sixpence None the Richer’s breakup proved temporary in 2004, it seemed only natural that a holiday album would provide the inevitable impetus to bring them back together. Though the band has been back together for at least a year, The Dawn of Grace is confirmation of the band’s spiritual solidarity, a religious thread that’s been woven into their music since the beginning. Singer Leigh Nash is still the group’s most identifying element, her waif-like vocals imbuing the sweetness in their sound and an angelic presence that’s an apt ingredient when it comes to heralding in the holidays. Here the band sample from both the spiritual and the secular, mixing in the obvious (“Silent Night,” yet another read of Joni Mitchell’s “The River,” now a seasonal standard) with a few pop pieces that tie into the holiday joy (the tropically sway of “Christmas Island,” a gentle and caressing “Christmas for Two”) and pull it all off with equal aplomb. The group’s willowy sound doesn’t infuse any deeper meaning that isn’t gleaned already from the inclusion of the more reverent selections, but as a pleasant aside, The Dawn of Grace is a lovely, if low-cast, bit of seasonal solace. (La Face)

Sixpence None The Richer website page

Kyle Andrews: Real Blasty

Kyle Andrews spins a sound that’s decidedly left of center, a sonic surge marked by giddy melodies, techno-tinged rhythms and an effusive enthusiasm that freely tugs at the parameters. Recorded, produced and played almost entirely under his own aegis, Real Blasty, Andrews’ sophomore set, delivers on all its name implies, an all-out, go-for-broke, no-holds-barred slab of indie invention. Opening track “Sushi” ups the ante from the get-go, an ebullient shout-out that provides perfect incentive for a dalliance on the dance floor. That breathless, kinetic pace is sustained throughout, but it’s especially pervasive on songs like “Polar Bear,” “Tennessee Torture Dream” and “Put Your Hands Up,” the latter a standout by virtue of its elated call to arms. There are occasional moments of reflection as well – the appropriately dubbed “Take it to Heart” being the most notable – but overall, it’s Andrews’ insistent approach that leaves the most emphatic impression, a dizzying collision of rock, racket and weirdness. Next time around Andrews may want to consider reigning himself in, at least to allow his listeners to catch a collective breath. Suffice it to say, Real Blasty is positively explosive.

Kyle Andrews MySpace page

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