Category: Pop (Page 98 of 216)

Various Artists: The Hotel Cafe Presents Winter Songs

Like a VH-1 dream lineup, The Hotel Café in Los Angeles is presenting Winter Songs, a collection of both original and classic holiday tunes by today’s hottest female artists. The Epic Records release is a benefit for the Susan G. Komen For the Cure, and it also benefits anyone who has the chance to hear it. Among some of the best original holiday songs in years are the unofficial title track, “Winter Song,” by Sara Bareilles & Ingrid Michaelson, and Colbie Caillat’s stunning “Mistletoe.” Some of the classics are predictable and a bit pedestrian, such as KT Tunstall’s take on “Sleigh Ride” or Priscialla Ahn’s wispy take on “Silent Night.” But Fiona Apple’s “Frosty The Snowman” and Katy Perry’s “White Christmas” are throwback versions to a bygone era, and show something you may not have known – that they both can sing very well. Taken as a whole, this is one of the more unique and semi-awesome holiday albums to be released in quite some time, and the cause should give you that much more of a reason to pick it up. (Epic)

Hotel Cafe website

Aaron Beaumont: Nothing’s Forever (Not Even Goodbye)

Maybe, as Aaron Beaumont suggests in the title of his recently reissued debut album, nothing is forever – no, not even goodbye – but some things do come awfully close, and on that list, tastefully ragtime-drenched piano playing and the smooth croon of a natural pop vocalist must rank awfully high. That’s good news for Beaumont, whose Nothing’s Forever (Not Even Goodbye) is filled with impeccably crafted, pleasantly retro songs that rescue piano pop from the arch snarkiness of late-period practitioners like Ben Folds – while avoiding the occasionally nauseating heights of seriousness attained by, say, Jack’s Mannequin. While Nothing’s Forever isn’t as consistent as it could be – obvious singles like the instantly charming “Julia” are offset by a handful of tracks that fade quickly into the background – it’s simply too smart and well-written to dislike, and since Beaumont had the extreme good sense to limit the track listing to 10 songs and just under 45 minutes, it’s too breezy to wear out its welcome. Matter of fact, this is that rarest of 21st-century beasts: an album that warms to the ear with repeated listens, rather than breeding contempt. In lesser hands, Beaumont’s extremely retro vibe would be nothing but a flimsy gimmick, but he’s clearly a songwriter who understands the difference between the strongly nostalgic and the simply timeless. Here’s hoping he gets the opportunity to grow into his aspirations. (Milan 2008)

Aaron Beaumont MySpace page

Amy MacDonald wishes a Merry Christmas to all scumbags, maggots, and cheap lousy…

…well, you know.

There is no quicker way to our hearts during the holiday season than by covering “Fairytale of New York,” the staggeringly awesome duet between the Pogues and the late, great Kirsty MacColl. So congratulations, Amy MacDonald: we liked your debut album well enough, but this live version of “Fairytale,” recorded at the Barrowlands in Glasgow, permanently puts you in our cool book. Her bassist and duet partner does a mean Shane MacGowan impression to boot.

Amy MacDonald – Fairytale of New York (Live in Glasgow)

Paul Simon: Live from Philadelphia

If you’ve already purchased the Paul Simon “Live at the Tower Theatre” DVD that was released in 2003, then there’s no need to bother with “Live from Philadelphia,” because it’s exactly the same concert, transferred from grainy video footage to present the same truncated 10/7/80 show – something Eagle really should have done a better job of making clear on this “new” title’s packaging. If, however, you don’t own “Tower Theatre,” and don’t mind suffering through the vagaries of the poorly aged footage, then “Live from Philadelphia” isn’t a bad way to spend $10. For one thing, Simon was touring with a terrific band: Steve Gadd on drums, Tony Levin on bass, Richard Tee on keyboards, and Eric Gale on guitar, offering the same New York-spun mellow urban vibe that typified Simon’s recordings of the era. For another thing, Simon – usually not the most scintillating live performer – was in high spirits during this show, stopping to interact with the audience a time or two (at one point, he even tells someone whose view he suspects may be obstructed to just come down and stand in front of the stage, joking that he isn’t sure whether it’s against the rules, but “it’s okay with me”). The set list might dwell a little too heavily on One Trick Pony for some, and it certainly doesn’t include any must-hear versions of the 11 songs presented here, but it does provide a glimpse of Simon during a time when he was beginning what was to become a decades-long struggle to redefine himself, the performances are uniformly tight, and the price is right. Just make sure you don’t already own it.

Click to buy “Paul Simon: Live from Philadelphia”

Morel: The Death of the Paperboy

Morel is an acclaimed remix artist who as worked with Pink, Depeche Mode, Cyndi Lauper and about a dozen or so other platinum artists. He’s also well known in house music circles for his club singles and his work with the dance music duo Deep Dish. But his career as a solo artist has been noticeably less successful, and The Death of the Paperboy probably isn’t going to change that. Too much of this album has Morel going away from his strengths, and experimenting with ballads and rock-driven pop songs. It occasionally works; “Anymore, Anymore” sounds like some fabulous combination of Erasure and Oasis, and the upbeat “Flawed” sounds like Hot Fuss-era Killers with a dozen or more synthesizers plugged in, but for the most part it all straddles the line into either generic dance music or down-tempo electronic pop. But let’s be honest, Morel makes music predominately for (gay) club play, and there are a few songs here that work great in that regard. But if that doesn’t interest you, then there is no reason to even glance at The Death of the Paperboy. (Outsider Music 2008)

Morel’s MySpace Page

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