Category: CD Reviews (Page 94 of 399)

Christine Ohlman & Rebel Montez: The Deep End


RIYL: Etta James, Bonnie Raitt, Kim Lembo

She’s been appearing on albums since the early ‘70s, but if you know Christine Ohlman at all, it’s because of her long (and supremely beehived) stint as a member of the Saturday Night Live Band. Ohlman’s a tenured member of the New York City session crew that produced fellow TV vets like Paul Shaffer and G.E. Smith; it’s a group stocked to the brim with incredible musical talent, but – as Shaffer and Smith’s sporadic recordings attest – not the first place you look if you want to hear inspired songwriting.

Happily, Ohlman’s an exception to this rule, which might have something to do with why her sixth solo release, The Deep End, is crowded with an eyebrow-raising list of guest stars that includes Ian Hunter, Al Anderson, Dion, Marshall Crenshaw, and Levon Helm. Fifteen songs and nearly an hour in length, The Deep End has its perfunctory moments, but it’s as expertly played as you’d expect, and it hits its targets more often than not. In fact, it’s one of the few modern blues records that cops a convincing ‘tude and remembers to bring some real songs to the table. It might be tempting to look at Ohlman in her shades and towering hair, read hackneyed song titles like “The Cradle Did Rock” and “Everybody Got a Heartache,” and wave off the whole thing as just another wine cooler blues record, but don’t judge too quickly – The Deep End lives up to its title. Dive in. (Horizon Records 2010)

Christine Ohlman MySpace page

Codeine Velvet Club: Codeine Velvet Club


RIYL: The New Pornographers, Nancy Sinatra, John Barry

Here’s the awful truth about life as a musician: when they’re not recording, touring, shooting a video, or doing press – in other words, when they’re not acting like a musician – they get bored, really quickly. It only took Jon Fratelli, lead singer and guitarist from Scottish trio the Fratellis, a couple days of down time after a lengthy tour commitment to get the itch, and before he knew it, we was recording an entire album of ’60s-styled boy/girl pop with a friend of his wife.

Codeiene_Velvet_Club_01

All people should be so productive at the brink of exhaustion; the resulting collaboration, Codeine Velvet Club, is a swinging collection of soundtrack music for an imaginary film. (Think Madonna’s I’m Breathless, only cooler, and ballsier.) Fratelli’s partner, chanteuse-in-the-making Lou Hickey, is like a poor man’s Neko Case, but the imperfections of her voice work in her favor more often than not. (Contrary to what the suits would have you believe, personality matters just as much as technique, if not more.) The vampy “Vanity Kills” slinks like a film noir femme fatale, and the charging “I Would Send You Roses” has an unforgettable, if breathless, chorus. Two showstopping ballads anchor the album’s middle, as “Nevada” and “Reste Avec Moi” could both pass for lost Bacharach compositions. The cheeky bastards even did a period-piece cover of the Stone Roses’ “I Am the Resurrection”; amazingly, that works, too.

Codeine Velvet Club is a most pleasant surprise, especially considering it comes hot on the heels of Fratelli’s underwhelming sophomore effort. There’s a statement in here somewhere about how it took a couple Scots to make a good old-fashioned American pop record, but we’re not really in the mood to point fingers – we’re just glad someone still remembers how it’s done. (Dangerbird 2010)

Codeine Celvet Club MySpace page
Click to buy Codeine Velvet Club from Amazon

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What do Beck and his friends do when they have 12 hours to kill?

Cover INXS albums, apparently.

Here is the formal explanation of Beck’s Record Club:

Record Club is an informal meeting of various musicians to record an album in a day. The album chosen to be reinterpreted is used as a framework. Nothing is rehearsed or arranged ahead of time. A track is put up here once a week. The songs are rough renditions, often first takes that document what happened over the course of a day as opposed to a polished rendering. There is no intention to ‘add to’ the original work or attempt to recreate the power of the original recording. Only to play music and document what happens.

Past coverees have included the Velvet Underground and Nico, Skip Pence and Leonard Cohen. This time around, it’s INXS’s Kick. Check out Beck with members of Liars, St. Vincent, and Os Mutantes covering “Guns in the Sky.” Check back here for more updates, which will be released in the same sequence as the album.

Record Club: INXS “Guns In The Sky” from Beck Hansen on Vimeo.

SXSW 2010 Quick Hits, Day 3: Sarah Borges & the Broken Singles

I hightailed it over to The Belmont on West 6th Street for a day party featuring the Watson Twins. But the party was running behind, so I was fortunate enough to hear another band that caught my ear from the moment I heard them across the street.

Sarah Borges was on stage rocking out a melodic and bluesy sound to a good crowd at the Belmont’s outdoor stage, an excellent intimate venue for such a party. Based in Boston, Borges looks a bit like comedian Sarah Silverman, but she’s got a dynamite voice. Borges does humor too though, noting that she was glad to know her bassist because he “looks like he’s holding.” Borges and the band veered from harder rocking tunes to bluesier Americana, and did both very well. She exuded a dynamic presence throughout the set that made it hard to take your eyes off her. The band closed their set with a great cover of Texan Doug Sahm’s “Walking the Streets Tonight,” with Borges projecting a charisma and talent making her one to watch going forward.

Sarah Borges, SXSW 2010
Photo by Steve Hopson

SXSW 2010 Quick Hits, Day 2: Grace Potter & the Nocturnals

I had one more to go over at Antone’s, where Vermont’s Grace Potter was scheduled to hit the stage at 12:20 AM. Things were running a little behind, but Potter and band hit the stage around 12:40 and threw down a triumphant set that went right up til 2:00. A variety of strong material from the band’s upcoming new album was a treat, featuring tunes like melodic rocker “Oasis” and a reggae-ish break-up song. New single “Tiny Light” was a bluesy yet uplifting rocker and featured a huge jam powered by new bassist Catherine Popper (formerly with Ryan Adams & the Cardinals). Popper’s dynamic skills provide an element that was missing from the Nocturnals before, taking the band’s sound to a higher level that enables them to throw down a big jam whenever the mood strikes. This is like the Cleveland Cavaliers acquiring extra muscle with Shaquille O’Neal, and whoever spearheaded Popper’s entry to the band should win an award for best musical trade of the year.

The gorgeous Potter dazzled on a wide variety of tunes, from blues to ballads to funk to full-on psychedelic jam rock. She also showed she’s not just a pretty frontwoman, jamming out on both keyboards and a Flying V guitar. A cover of Jefferson Airplane’s “White Rabbit” was a treat, especially following Krieger’s appearance with STP. “I Got the Medicine” closed the set with another great jam, and there’s no doubt that Potter’s music does indeed possess medicinal properties. The encore closed out with “Nothing but the Water,” an infectious high-energy tune that rocked the packed house one more time and featured another huge jam that blew everyone away. What a killer set.

grace potter
Photo by Adrien Broom

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