Category: Pop (Page 88 of 216)

Dexter Freebish: The Best of (The Other Side)

March 13, 2009 / Mike Farley

Dexter Freebish was one of those dot com-era bands that bridged a gap between alt-pop powerhouses that were slowly fading (think Toad the Wet Sprocket or Hootie) and those that were embracing their independence like never before (The Clarks, Better Than Ezra). There simply isn’t ever a place on any musical timeline where good, melodic pop/rock doesn’t have a place, and this five-piece Texas band is proof of that. Dexter Freebish released two albums beginning with 2000’s A Life of Saturdays, which included their John Lennon Songwriting Contest entry, “Leaving Town.” But after breaking up in 2005, lead singer Kyle (who mysteriously has no last name) and the rest of the band got back together for some shows, and found out there is still a market for their catchy fare. EA Sports, along with a publishing arm of Nettwerk Music, decided to release this greatest hits collection, The Best Of (The Other Side), including four new tracks, and history is being made before your very eyes, or something. The big “hits” are all here, including “Leaving Town,” “Prozak” (which actually WON the John Lennon contest) and “Higher,” and some of the newer stuff is pretty decent, in particular the stunning piano ballad “Walk on Water.” For the most part, Dexter Freebish is a decent band with nice, hooky songs, but they aren’t going to keep tastemakers up at night figuring out who heard them first. (LABEL: Electronic Arts)

Dexter Freebish MySpace Page

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Anya Marina: Slow & Steady Seduction Phase II

March 6, 2009 / Mike Farley

Anya Marina is an entertainment triple threat—she’s been a radio DJ, an actress, and is now fortifying her music career with a second album release, Slow & Steady Seduction: Phase II, released on Alexandra Patsavas’ Chop Shop Music label. Patsavas, one of the best-known film/TV music supervisors, placed one of Marina’s songs on the “Grey’s Anatomy” soundtrack and then signed her to the label. Marina’s unique, sultry vocal is a more alternative version of Gwen Stefani, and her playful songs on Slow & Steady are accented by the hipster production crew of Brian Karscig (Louis XIV) and Britt Daniel (Spoon). Daniel’s drum loops helped give Marina a creative spark and as a result the album is a leap from Marina’s earlier singer/songwriter fare. There are some great moments, especially on the opener “Move You,” the ultra-bouncy “Cut It Out,” and on “Vertigo,” which has an ‘80s, “Pretty in Pink” undertone. But on “Not a Through Street,” which starts out with just an acoustic guitar and Marina’s pure vocal, her appeal jumps through the roof. It doesn’t matter if the flavor-of-the-month artist is your thing or not, there will be something most everyone can like about Anya Marina. (Chop Shop/Atlantic)

Anya Marina ySpace Page

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Alexandra Patsavas Alternative Anya Marina Brian Karscig Britt Daniel Chop Shop Music Grey's Anatomy Louis XIV music supervisor Slow & Steady Seduction:Phase II Spoon

Eleni Mandell: Artificial Fire

March 6, 2009 / Mike Farley

Eleni Mandell has been well under most everyone’s radar, evidenced by the fact that Artificial Fire is Mandell’s seventh studio release and there’s a good chance you haven’t heard of her yet. This time around, she claims to have pulled inspiration from her inner teenager, and that makes for a mostly upbeat, quirky romp, and quite a contrast from Mandell’s previous album, Miracle of Five, which was more crooner-ish. Mandell’s rich, soft and always on-pitch voice is still there, but there are so many other variables at work in the arrangements and production of Artificial Fire, it’s pretty impossible to become bored. That’s not to say every song is compelling, but Eleni has some real winners here, especially the title track, which features some sweet psychedelic guitar riffs, the rock swagger of “Little Foot” and the dark, sweet croon of “I Love Planet Earth.” But the best track of all is “Don’t Let It Happen,” which has a pure pop feel with a ‘50s bent, sort of like a female version of Buddy Holly. This is just another fine release from an artist who deserves a bit more of your attention. (LABEL: Zedtone)

Eleni Mandell MySpace Page

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Wild Light: Adult Nights

February 27, 2009 / Jeff Giles

Not many rock bands come out of New Hampshire – and even fewer manage to score deals with labels as major as Sony – so it’s hard not to root for Wild Light on principle alone; unfortunately, principle may be all that gets you through chunks of Adult Nights, the quartet’s full-length debut. The band has an interesting sound that wobbles between Semisonic and Arcade Fire – and the latter comparison is one you’re likely to hear more than once, given that keyboard player Tim Kile was in an early version of that band – but they need better material. Nights lets you know they’ve got the chops – opener “California on My Mind” kicks things off right, with its harmonica, stomping beat, and repeated refrain of “fuck California,” and “Call Home” is a lovely piano-led ballad that recalls Dan Wilson before he gave in to his Carole King fetish – but those high points only serve to underscore just how ordinary the rest of the disc can be. There aren’t any bad songs here, but there are a lot of well-meaning musical exercises in search of hooks, not to mention varying tempos – much of Adult Nights glides by at the same middling pace. If we were living in a different era, it wouldn’t be out of the question to hope Wild Light’s A&R rep stuck with the label long enough to shepherd the band through a few more albums until they were ready for their big break. Those days are long gone, unfortunately, but if they get lucky enough to reach a broad audience with Adult Nights, it also isn’t out of the question to imagine that this band could develop into something really special. (Columbia/StarTime International 2009)

Wild Light MySpace page

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Paul McCartney: Amoeba’s Secret

February 27, 2009 / Lee Zimmerman

At age 66, Macca’s more prolific than ever, releasing new records on a regular basis, coming clean with his guise of the Fireman and still touring consistently. So it’s not enough that he should make the compulsory Grammy showing; he can also appear at a more intimate venue that’s generally reserved for up-and-comers. Consequently, this four song set, recorded live in 2007 at the Amoeba record store in L.A., reminds us he’s still a mere mortal, capable of rocking a small crowd with offerings both old and new. Vibrant versions of “That Was Me” and “Only Mama Knows” from his then-current album, Memory Almost Full, cast aside doubts about Paul’s present ability to deliver on a memorable melody. “I Saw Her Standing There” provides the inevitable nod to nostalgia with a rollicking rendition would have us believe that indeed, 45 years have passed in the blink of an eye. The sound quality, which veers towards bootleg variety, makes for a minor complaint, but the choice to include “C Moon,” one of McCartney’s lamer attempts, ought to cause greater ire. On the other hand, the fact that Ringo was in the house and wasn’t asked to join in seems the biggest bummer of all. (Hear Music)

Paul McCartney website

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