Category: CD QuickTakes (Page 79 of 149)

My Favorite Highway: How to Call a Bluff

Depending on how cynical you are, there are two ways you can look at My Favorite Highway: Either they’re a television music supervisor’s wet dream – and the latest withered apple to fall off the Something Corporate branch of the blink-182 family tree – or they’re every bit as earnest as they seem, and their full-length debut, How to Call a Bluff, is really just the front line in a new wave of bands whose members grew up listening to Third Eye Blind, Matchbox Twenty, and Everclear. Either way, there’s no getting around the fact that lead Highwayman David Cook is a songwriter with a gift for melody and his heart strapped firmly to his sleeve, and if that just happens to be exactly what it takes to get your music played in an episode of “The Hills,” that’s no reason to write the band off as a crass, watered-down facsimile of something that wasn’t all that great in the first place, is it? Well, again, that depends on your level of cynicism – but if you can bring yourself to listen to Bluff without hearing the strong echoes of the band’s influences, though, you’ll find it a veritable buffet of sweet, fizzy pop treats, all gleaming surfaces, sticky hooks, and giant choruses. If this Highway leads to less-traveled environs, some beautiful vistas could await. (Virgin 2009)

My Favorite Highway MySpace page

Big Bad Voodoo Daddy: How Big Can You Get? A Tribute to Cab Calloway

You’ve got to give Big Bad Voodoo Daddy credit for having enough chutzpah to dedicate an entire album to the repertoire of a legend like Cab Calloway – and for tracking the whole thing live on vintage gear – but it’s a well-known musical maxim that you needn’t bother cutting a cover unless you’ve got something new to add, and that goes double for someone whose songs have been bought, sold, covered, and compiled as often as Calloway’s. As a result, How Big Can You Get? is about as thoroughly inessential as you can get – it’s impeccably performed, and adds a dash of modern production sparkle to a stack of well-worn tunes that includes “Jumpin’ Jive” and “Minnie the Moocher,” but it lacks the heat and spice of the original recordings, and anyway, there’s no reason to spend money on relatively faithful interpretations of Calloway’s songs when plenty of compilations and reissues are available for a minimal investment. Big Bad Voodoo Daddy remains as likable as ever on these recordings, even if lead singer Scotty Morris doesn’t do himself any favors by encouraging comparisons to Calloway, and fans of the band should be consistently entertained. As a gateway to Calloway’s world, however, it’s not worth opening. (Vanguard 2009)

Big Bad Voodoo Daddy MySpace page

Greycoats: Setting Fire to the Great Unknown

We love to see publicists promote records released in the previous year because they believe in them, mainly because it takes us back to a time when record labels had more patience with their artists, and would take the time to groom them, drum up some geniune buzz for a band rather than fabricate fake buzz, etc. (We’re well aware that those days weren’t as innocent as we might think, but they’re our memories, and we’re sticking to ’em.) We’ll see how this old-school approach works for Setting Fire to the Great Unknown, the debut album by Minneapolis quartet Greycoats. Their bio boasts comparisons to Arcade Fire, Radiohead and Sigur Ros, but a better point of entry might be a more guitar-oriented Keane. “Goodbye, Sweet Youth, Goodbye” sports a soaring chorus that the boys from Battle would kill for, and singer Jon Reine has nicked a few tricks from Tom Chaplin’s playbook in terms of vocal phrasing. It’s gorgeous stuff – Thom Yorke will surely mutter obscenities under his breath when he hears “An Echo in the Dark” – and, in an ideal world, the band is only a soundtrack or “Grey’s Anatomy” moment away from vaulting to the next level. (Greycoats 2008)

Greycoats MySpace page

White Rabbits: It’s Frightening

It is increasingly difficult to stand out in the overcrowded pop scene these days, but leave it to Missouri transplants White Rabbits (they’ve since relocated to Brooklyn, much like fellow Midesterners Locksley) to take a trick from .38 Special’s playbook and turn it on its ear: two drummers! The similarities end there, though; It’s Frightening, the second long-player from the White Rabbits, takes those two drummers – think Adam and the Ants, not the Doobie Brothers – and frames them with singer Stephen Patterson’s barroom piano and some sparse guitar work to create the kind of angular pop that you’d expect from the bands on the other side of the pond. Britt Daniel’s presence here as producer is no surprise, as the band’s “They Done Wrong/We Done Wrong” sounds like a lost Spoon track, and Single of the Year candidate “Percussion Gun,” armed to the teeth with handclaps and double-decker harmonies, is delightfully quirky and insanely catchy. That unusual approach to their drum tracks could prove to be an albatross – ask Guster about that one – but for the moment, all is quite well with the White Rabbits. (TBD 2009)

White Rabbits MySpace page

Del Marquis: Litter to Society EP

Anyone seriously jonesing for new Scissor Sisters material would be wise to check out Litter to Society, the new EP from SS guitarist Del Marquis. Sporting five new tracks and “shadow” versions (think dub mixes) of three of those songs, Marquis unleashes his inner Shriekback – or is it Underneath the Radar-era Underworld? – on the title track, which merges a lyric not far removed from Diana Ross’ “Upside Down” with a bubbly but sinister electro beat. Fans of Marquis’ day job, meanwhile, will gobble up the day-glo “Any Kind of Love,” which could pass for a lost Belouis Some track. Shriekback? Belouis Some? Those are some seriously dated and specific ’80s references, yes, but it’s hard to argue with where Marquis finds his muse when the results are this entertaining. (self-released 2009)

Del Marquis MySpace page

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