Category: CD Reviews (Page 221 of 399)

Paper Rival: Dialog

Paper Rival is a four-piece rock band from Nashville, so let’s give that obligatory nod to the fact that this is a rock band in a city known for country music. Okay, now let’s focus on Paper Rival’s music, because the songs on their debut, Dialog, are damn good. Paper Rival is being touted as having an “expansive take on classic rock,” which only means that it’s difficult to classify them. Their music is moody, alternative, at times bordering on heavy, but not classic – think Margot & The Nuclear So and So’s rather than Aerosmith. “Cassandra,” the first single, is a mid-tempo, melody-driven, lo-fi beauty, but it’s not the best track. “Foreign Film Collection” has that distinction – haunting, driving, alt-rock bliss. And there is a distinct balance between dark, scream rock (“The Family Ghost”) and musically uplifting (“Keep Us In”). And while a few of these tracks sound too much like a few of the others, we won’t hold that against Paper Rival when the majority of the band’s debut is this good. (Atlantic)

Paper Rival MySpace Page

Cavedoll: No Vertigo

Cavedoll has released ten albums this year, 13 in all, and this review is as much a criticism of that mind-numbingly stupid idea as much as it is of their release No Vertigo. (It’s hard to tell if it’s their latest, keeping track of 10 album releases in a seven-month period isn’t easy.) The group is mostly a one-man show, with Camden Ray Chamberlain serving as the band’s guitarist, bass player, keyboardist and lead singer. He is also the sole creative force behind the scenes too, as he writes, produces, mixes and masters nearly all of the band’s songs as well. If you were to rank control freaks on a scale of 1 to 10, one being the communal vibe of Pearl Jam and 10 being the dominant assholery of Billy Corgan, Chamberlain has to be an 11 – he probably makes Roger Waters look like an open-minded ray of sunshine. It should be no surprise that No Vertigo is a massively uneven affair, filled with songs of varying in both style and quality. There are a few amazing tracks here, but there are also several duds, and the covers of “Paint It Black” and “Heroes” are filler on an already long album that has more than its fair share of useless tracks. Chamberlain probably thinks he’s doing something genius by releasing nearly every single song his band records, but he needs to remember that B-sides and outtakes exist for a reason. (Kitefishing 2008)

Cavedoll MySpace page

Steal This Song: Carlon, “Cantaloupe”

Holy “Jesus Was a Crossmaker,” Batman.

New Jersey: It’s not just for bar bands anymore. This quartet does the best Hollies impression we’ve heard in ages, good enough to blow away anything by Band of Horses, to whom the band is favorably compared in their press release. Now, we like that Band of Horses album as much as the next guy, but there isn’t anything on Cease to Begin that comes close to matching the beauty of “Cantaloupe.” Is it just us, or does everyone else hear Christopher Walken’s voice when they see the word ‘cantaloupe’? Blame it on too many viewings of “True Romance.”

The band’s full-length debut, Johari Window, comes out September 30. We can’t wait to hear the rest of it.

Carlon – Cantaloupe

Jimmy Witherspoon featuring Robben Ford: Live at the 1972 Monterey Jazz Festival

Jimmy Witherspoon was so enthralled with what he was hearing from his guitarist, Robben Ford, that he shouted his name in approval a dozen times throughout his ’72 Monterey Jazz performance (ten of those shouts occurring during the solo in “Goin’ Down Slow” alone), preserved here on disc. Ford truly did earn the co-credit on this disc, and eventually went on to play with Miles Davis a decade later. As for ‘Spoon, what’s even more entertaining than his jolly takes on classics like “Kansas City” and “Walkin’ By Myself” are his outbursts – threatening to tear away the stage curtain (“I’ll cut it! I’ve got my knife!” he shouts three times when the curtain is drawn after “Walkin’ by Myself”), and then cutting off his band midway through his performance of “Early One Morning” to tell the audience about the night he drank some scotch after forgetting that he had just popped some reds. To their credit, the band (bassist Stan Poplin, drummer Jim Baum, and Paul Nagel on Fender Rhodes) also stay plenty tight for ‘Spoon and Ford, anchoring a night that had to have been a total gas for all who were there. (Monterey Jazz Festival 2008)

Monterey Jazz Festival Records Myspace page

Shirley Horn: Live at the 1994 Monterey Jazz Festival

Listening with 2008 ears that have spent plenty of time with music of today’s standard bearer for female jazz vocals – Diana Krall, who else? – it becomes abundantly clear just how much a debt Ms. Krall owes to her forebear, husky-voiced singer/pianist Shirley Horn. Riding a wave of renewed interest that began in the late ‘80s, Horn came out swinging at her only Monterey Jazz Festival appearance. “Foolin’ Myself” and “Nice n’ Easy” are highlights, as is her rendition of “I’ve Got the World on a String,” which sounds awfully close to how Krall would approach it the following year on her second album. Best of all, though, is her total ownership of “The Look of Love” – she dips and swoons her way through a wonderfully elastic take on the Bacharach classic, with great sympathy from her rhythm section, bassist Charles Ables and drummer Steve Williams. (Monterey Jazz Festival 2008)


Monterey Jazz Festival Records Myspace page

« Older posts Newer posts »