Category: Pop (Page 85 of 216)

Doug Paisley: Doug Paisley

He may share the same surname, but Doug Paisley holds little in common with that more famous Paisley who bears the name Brad. Hailing from Toronto Canada, Doug takes an everyman approach to his craft via a soft strum and an affable folk finesse, a far cry from the commercial country branding that Brad’s parlayed into superstardom. But while his songs may seem rather unassuming, they resonate with resilient melodies and a heartfelt delivery that sounds simultaneously both weathered and refreshing. The lilt and sway of a steel guitar illuminates “We Weather,” while somber keyboards enhance the graceful balladry of “Take Me with You” and “What About Us.” Mostly though, this material finds a comfortable middle ground that sounds like the essence of ‘70s soft rock, a sound that would make James Taylor or Jackson Browne beam with approval. It’s also a refreshing shift in stance from the overly mannered, self-conscious approach that’s plagued many singer/songwriter types in recent years. That makes Paisley’s premiere effort one of the best debut discs in recent memory. (No Quarter)

Doug Paisley MySpace page

Peter Cincotti: East of Angel Town

Young pianist and singer/songwriter Peter Cincotti came off as a young Harry Connick, Jr. with his crooner delivery on his self-titled debut a few years back. So it may come as a shock when you hear his new album of all original material, East of Angel Town. That’s because this is a pop/rock album through and through, and Cincotti has obviously been hiding behind some really impressive songwriting ability. But this project was also aided by an all-star team of producers including David Foster, Humberto Garcia and Jochem van der Saag, all of whom contributed to making this album sound larger than life. All of that also makes Cincotti’s newfound pop sensibility a nice breath of fresh air, and while the closest comparison to the songs on East of Angel Town might be Gavin DeGraw, make no mistake about the fact that Peter Cincotti has his own artistry and he wears it well. Among a pretty stellar batch of songs, the standouts are the hard-driving “Be Careful” and “Love is Gone,” the bluesy “Another Falling Star” and “Witches Brew” and the made-for-radio pop gem, “Man on a Mission.” (LABEL: Warner Bros.)

Peter Cincotti MySpace Page

Let the Right Ones In: Ten bands that should be in the Rock ‘n Roll Hall of Fame

The 23rd annual induction ceremony for the Rock and Roll Hall of Fame is coming up, and with it comes the annual bitchfest by music fans and critics as to which bands deserve to get in and which do not. The general public has no say in the nomination or induction process; instead, an anonymous committee chooses the nominations, which are then voted on by an equally anonymous group of 500 “rock experts.” Bands are eligible for induction 25 years after the release of their first record. Usually there’s little controversy when it comes to the artists chosen for induction, with the real debates circling around those artists who have yet to be recognized by the Hall of Fame.

The Hall has its prejudices when it comes to selecting those worthy enough for induction. Heavy metal, punk and prog rock have a hard time getting in, while anyone with an obvious blues or country influence seems to be a shoe-in. It also helps to be American or British; no artists from mainland Europe, Africa, South America or Asia have been inducted yet.

With that in mind, Bullz-Eye has selected 10 artists, listed in chronological order of their eligibility, that we feel have been given the shaft by the Hall. These are by no means the 10 “best” artists who have failed to be inducted; just 10 “of the best” who have not yet gotten their due.

The Stooges
Eligible since: 1994

The Stooges self-titled debut came out in 1969 and it’s hard to imagine just how abrasive and loud the Stooges must have sounded to audiences at the time. Try putting them in context: the biggest albums of that year were Abbey Road, Blood, Sweat & Tears’ self-titled record that had the hit “Spinning Wheel” and the original cast recording of “Hair.” One of the biggest singles was “Sugar Sugar” by the Archies. Contrast that with “I Wanna Be Your Dog,” and a sense of just how far ahead of the times they were begins to develop.

Rush
Eligible since: 1999

We are loath to use album sales as a measure of a band’s true worth, but it’s worth noting that Rush’s first 16 studio albums, spanning 22 years, have sold a minimum of 500,000 copies each. The only band with a longer gold-or-better sales streak is the Stones. Aerosmith is just behind Rush, with 14 straight gold-or-better albums, and U2 will probably get there if the band doesn’t kill Bono first. Fittingly, Aerosmith, U2 and the Stones are all in the Hall; Rush, however, are not, and their exclusion can be boiled down to three words: critics hate prog.

Motorhead
Eligible since: 2002

They may have paved the way for Anthrax and their thrash metal ilk, but Motorhead’s influence can be heard in punk music of the ’80s and ’90s, alternative rock groups such as Queens of the Stone Age and even in electronic and new wave music (industrial music is basically thrash metal with keyboards). The Hall hates metal, for some reason – it even took them 11 years to get off their asses and induct Black Sabbath. And if Ozzy and company can barely squeak into the Hall of Fame, an underground act like Motorhead doesn’t have a prayer. Pity.

To read the rest of the bands that should be in the Rock ‘n Roll Hall of Fame, click here

Sonos: Sonos

A cappella music is supposed to be the domain of fun-for-a-minute novelty acts like the Nylons or the Blenders, and even the best of the genre often sounds as though it was recorded by the same grinning, finger-snapping, vest-wearing nerds you laughed at during spring assembly in high school. The last time anyone cared about an a cappella single was in 1993, when Huey Lewis and the News scored a fluke hit with a cover of Curtis Mayfield’s “It’s Alright” – and when a genre’s last taste of success came from Huey Lewis, you know it’s seen better days. Into this cultural vacuum steps the six-member Los Angeles outfit known as Sonos, and although their press materials contain all the dreaded buzzwords used by makers of terminally unhip music – “push the envelope,” “redefine a genre” – their self-titled debut is actually far better than you might expect, especially given their über-hip taste in cover selections (Bjork’s “Jaga,” Radiohead’s “Everything in Its Right Place,” Imogen Heap’s “Come Here Boy”) and/or the presence of AAA radio pox Sara Bareilles, who contributes vocals to her own “Gravity.” It helps that they aren’t a straight a cappella outfit – many of the tracks incorporate light instrumentation, and they aren’t afraid to chop and twiddle with their vocals – but what really puts Sonos across is the ease with which the group manages to substitute a cool modern feel for the stereotypical Up With People vibe. No vests here, in other words – and if Sonos is still a novelty, it’s one that’ll take a good, long while to wear off. (Big Helium 2009)

Sonos MySpace page

Max Morgan: Interrupting the Silence

His album artwork promises an artist with the velvety smoothness of a young, guitar-toting Kenny G, combined with the addle-brained exuberance of Richard Simmons on Oxycontin – but Max Morgan’s Interrupting the Silence delivers on neither promise, instead providing the listener with an idea of what it might sound like if Leo Sayer had replaced Kevin Cronin in REO Speedwagon. The answer to that question, in case you were wondering, is a lot of generic pop/rock grooves with plentiful falsetto and a few scoops of faux vocal grit, not to mention a load of embarrassing lyrical clichés (“Wait for Me,” in particular, would make Bryan Adams blush). Morgan is a technically sound vocalist, and when he manages to come up with the right material for his voice, he does a fine job of showing off his range, but often – as is the case with the groanworthy “Ya Better Believe” – he doesn’t know which dumb-ass lines to cut, or how not to beat a mildly pleasant groove until it’s dead. (“Believe” is only 3:14 long, but feels like a prog epic.) Morgan’s love for cheese is bottomless; he begins the closing track, “Prayer for No One,” with the line “Hello, Ground Control, I think we’ve got a problem,” channels Michael W. Smith on the weepy power ballad “Nobody’s Coming to My Rescue,” and generally tends to hit Disney Channel rock territory when he’s aiming for arena slayer status. The result is the CD equivalent of a tract home: The pieces are all assembled competently enough, but they’re made from such flimsy stuff, the effort was largely wasted. (Chime 2009)

Max Morgan MySpace page

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