Category: CD Reviews (Page 139 of 399)

Guy Clark: Somedays the Song Writes You

September 29, 2009 /


RIYL: Townes Van Zandt, Steve Earle, Kris Kristofferson

Guy Clark seems like the kind of guy who would happily buy you a beer and then swap some stories. It’s an impression reflected by the easy affability suggested in his songs, an unpretentious everyman attitude in this new album’s entries, “Somedays You Write the Song” and “The Guitar,” each an unassuming narrative offering a humble nod to his muse. In fact, Clark’s modesty is unnecessary; as the writer of such songs as “Desperados Waiting for a Train,” “L.A. Freeway” and innumerable other standards, he’s become one of Nashville’s most dependable songsmiths.

Not surprisingly then, Somedays the Song Writes You finds Clark doing what he does best, sharing everyday observations and intuitive introspection — poignant, affecting and etched like always from a knowing perspective. Clark’s palette encompasses a brittle mix of world-weary resignation and tentative optimism, with songs such as “Hemingway’s Whiskey,” “Eamon” and the remorseful “Maybe I Can Paint Over That” taking their place among the most impassioned entries in his repertoire. Still, Clark doesn’t click with every entry. “Hollywood” and “Wrong Side of the Tracks” trudge along without ever gaining momentum, and a cover of his late pal Townes Van Zandt’s “If I Needed Someone,” while an admirable choice, fails to add anything to the original. Fortunately though, these are minor quibbles, because ultimately, Somedays The Song Writes You proves worthy of one terrific Guy. (Dualtone Music 2009)

Guy Clark website

Americana, CD Reviews, Country

The Black Crowes: Warpaint Live (DVD)

September 28, 2009 /


RIYL: The Allman Brothers Band, Widespread Panic, The Rolling Stones

The Black Crowes hit the road in the spring of 2008 for a mini-tour that featured a nightly first set of the just-released Warpaint album being played in its entirety. This show from the Wiltern Theater in Los Angeles captures the band on a hot night. Vocalist Chris Robinson has got his mojo working while then-new members Luther Dickinson (lead guitar) and Adam MacDougall are fitting right in.

Warpaint was the band’s first new studio album in eight years and the band is clearly energized. General consensus has it that the band’s new 2009 album, Before the Frost… Until the Freeze, has already surpassed Warpaint with an even stronger batch of tunes, but as drummer Steve Gorman has noted in a recent interview at Jambase.com, Warpaint was pivotal for the band in helping them regain their musical “compass.”

Tunes like “Goodbye Daughters of the Revolution” and “Evergreen” benefit from Dickinson’s charged leads and backing harmonies from Charity White and Mona Lisa Young. Guitarist Rich Robinson and drummer Gorman form the band’s backbone, laying down a Stones-meets-Zep vibe on “Wee Who See the Deep.” Solos by Dickinson and MacDougall surpass the studio performance to demonstrate why the Black Crowes have always been more about the live shows, though they generally turn out stronger and more cohesive albums than most jam bands. Dickinson moves to mandolin for the poignant “Locust Street,” with Chris Robinson pouring on the soul. As with the album, the highlight of the set is “Movin’ on Down the Line,” the first song written for the album, an uplifting psychedelic rock tour de force.

The second set is only six songs, but features stellar covers of Delaney & Bonnie Bramlett’s “Poor Elijah,” the Bramlett/Clapton gem “Don’t Know Why,” and the Stones’ “Torn and Frayed,” a tune tailor made for the Robinson Brothers harmony vocals. There’s also an extended work out on “Bad Luck Blue Eyes Goodbye.” This short but sweet second set is what elevates the DVD from three to four stars, as the band really digs in deep. (Eagle Rock Entertainment 2009)

Blues, Concert DVDs, Rock

Dwight Twilley: Out of the Box

September 28, 2009 /


RIYL: Richard X Heyman, Jason Falkner, The Smithereens

For some artists, an album consisting solely of cover songs would seem a fallback tactic intended to simply buy time. However, coming from Dwight Twilley, the concept finds an appropriate fit with his power pop M.O., reflecting the music that provided his earliest inspiration. And while the majority of his cover choices on this new LP might negate the need for a redo, Twilley manages to impose his indelible imprint on each, making them a good fit with his own catalogue in the process.

Truth be told, Out of the Box doesn’t opt for the obscure. In fact, most of the material is – to say the least – pretty well worn. Songs like “Secret Agent Man,” “Good Golly Miss Molly,” “Stand by Me” and a well-stocked selection of Beatles standards clearly veer towards the obvious. Even the color photo – a psychedelic headshot – offers a retro reference by replicating Richard Avedon’s famous kaleidoscopic portrait of John Lennon.

Happily then, the treatments are anything but ordinary. Aside from the fact that he opts to strip down the arrangements to a basic rock ‘n’ roll motif, Twilley applies his vocals with an angst and intensity that gives these tracks an amped up sense of urgency and desperation. The Bee Gees’ “Holiday” finds a distinct sense of desperation while John Lennon’s “In My Life” echoes with decided remorse. Even the droning “Tomorrow Never Knows” finds an added element of edge and desire.

Inevitably, there will be those who lament the fact that Twilley hasn’t anything original to offer. Indeed, given the recent abundance of rarity collections and other material from his archives, an album of new material would seem long overdue. Suffice it to say, Out of the Box only adds to the anticipation. (Gigatone 2009)

Dwight Twilley MySpace page

CD QuickTakes, CD Reviews, Power Pop, Rock

Nanci Griffith: The Loving Kind

September 28, 2009 /


RIYL: Emmylou Harris, Patty Griffin, Dolly Parton

One would be hard pressed to find a better representative for Americana music than Nanci Griffith. If that statement appears to ring of hyperbole, then suffice it to say that a single listen to Griffith’s outstanding new album, The Loving Kind, ought to provide all the proof necessary.

As her fans will attest, Griffith’s made great albums before – Other Voices, Other Rooms and Late Night Grande Hotel being two of the more obvious examples – and each affirmed her penchant for repositioning heartland traditions and serving them up in a way that’s both endearing and affecting. However, this set takes a new turn, upping the ante with a series of emotionally tattered narratives accompanied by heartfelt sentiment. It commences with the title track, an unflinching view of an interracial courtship that defied the mores of the early 20th century, and transitions into other equally incisive offerings. The songs that follow continue this theme, delineating those who have been marginalized by society – a man framed for a crime he didn’t commit (“Not Innocent Enough”), those in search of brighter horizons (“Across America”), the woman who mourns the fact that marriage has saddled her with unwanted responsibility (“Party Girl”), a farming family’s sense of futility and desperation (“Cotton’s All We Got”)… not to mention her mournful tribute to fellow songwriter Townes Van Zandt, whose immense talent couldn’t prevent him from unraveling (”Up Against the Rain”). Each vignette is delivered with unabashed authenticity – fiddles, pedal steel, mandolin and a gentle ramble – creating a compelling listen that’s gentle on the ear and yet still pressing on the soul. (Rounder 2009)

Nanci Griffith website

Adult Contemporary, Americana, CD QuickTakes, CD Reviews, Country, Folk

Chevelle: Sci-Fi Crimes

September 25, 2009 /


RIYL: Tool, Helmet, Incubus

The Chicago power trio’s fifth album sees the band doing what it does best, which is rocking a heavy sound, yet one with more melody than most of their contemporaries. “Sleep Apnea” and “Mexican Sun” come right the gate with a powerful sound – big power chords, fat bass and crashing drums. Vocalist/guitarist Pete Loeffler still strays into screaming mode here and there on the album, but mostly leaves the screams on the curb, a good thing since he can actually sing. Brother Sam Loeffler on drums and brother-in-law Dean Bernardini on bass form a mean rhythm section for Pete to lay down his crunchy power chords over.

“Shameful Metaphors” is a major highlight that demonstrates Chevelle’s more dynamic side, as it starts off featuring the bass line and light, melodic guitar before the crunch comes in, reminiscent of the production style on the band’s 2002 smash hit “Send the Pain Below.” Pete Loeffler shows what an emotionally compelling vocalist he can be on tracks like this and lead single “Jars.” “Fell Into Your Shoes” and “Letter to a Thief” feature more big heavy hooks that will surely get fists pumping, and echoey guitar fills that expand the band’s sonic palette.

The album’s title apparently comes from “Highland’s Apparition,” which mixes things up with a solo acoustic ghost story ballad, and “Roswell’s Spell,” perhaps the heaviest song on the album. This unfortunately makes it challenging to discern the lyrics that allude to the infamous 1947 Roswell Incident, since Loeffler reverts back to screaming mode during the song. The intriguing lyrics, says Loeffler, were influenced by a friend of the band that’s way into UFOs and the paranormal. The topic has clearly influenced the band, as demonstrated by the album title and artwork featuring a flying saucer.

“A New Momentum” follows with a monster bass line, huge dirty chords and some really catchy riffs for another stand-out tune. “This Circus” closes the album with another heavy but more syncopated rocker. There’s a lot of heavy sludge rock out there that lacks any memorable hooks, while there’s just as much poser rock that lacks any real balls. Sci-Fi Crimes shows that Chevelle remain among the best at mixing melodic hooks with head-banging heaviness. (Sony 2009)

Chevelle MySpace page

Artists, CD QuickTakes, CD Reviews, Rock

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