Category: Rock (Page 113 of 241)

Clifton Williams and the Blue James Band: WILL

Clifton Williams and the Blue James Band bill themselves as “a rock, reggae, folk, and funk train riding through the world of music,” but if their second album is any indication, they’re really more like a smoky old VW bus aimlessly rolling through Humboldt County. WILL is brah rock of the first order, the kind of stuff you expect to hear blaring from the second story of a frat house on a Sunday afternoon (perhaps not coincidentally, the album contains a song titled “Sunday Afternoon”). Williams’ claims to rock, reggae, folk, and funk influences ring clearly enough over the course of these 13 tracks, but they’re all employed in the service of an extremely mellow vibe that renders them all more or less inert. It’s to Williams’ credit that most of the songs hover around the four-minute mark – most of the jamming is saved for the drawn-out closing track, “My New Window” – but they still feel curiously drawn out; the melodies wander, and the arrangements are full of noodly chord progressions that will be overly familiar to anyone who’s ever listened to a Dave Matthews Band album. And unless you really are a college student in your 20s, it’s probably best if you don’t look at the lyrics, which are heavy with searchin’-for-myself platitudes like ”Down this path I walk with uncertain steps / The life I live is a life built on hopeful promises.” In other words, don’t expect too much from WILL, but it’s excellent music for a barbecue, or the soundtrack of Matthew McConaughey’s next movie. (Chappy Payne Records 2008)

Clifton Williams and the Blue James Band MySpace page

The British Columbians: The British Columbians

Forget any notions of lofty peaks and clear Canadian skies. These British Columbians mostly troll a darker underbelly that’s more akin to the swampy environs of the Mississippi Delta or points likely well within the devil’s tawdry reach. So while they come by their namesake through actual residency, their musical references couldn’t be any more disparate. Taking their cue from the stir-fried boogie and low, lonesome ruminations of the bayou country, they reference innumerable forebears, from the swagger and wail of Kings of Leon (Gasoline Handshake”) and Led Zeppelin (“Hail to the Rising Sun”), to the impassioned blues moan of John Lee Hooker and other down-home denizens (“Ain’t No Direction”). Happily for those alienated by plodding, monolithic stomps and other dervish-like frenzy, relief arrives via the album’s final two entries, “By and By” and “Going Out On You, rustic rambles that find more in common with the mellower Faces under the stewardship of Ronnies Wood and Lane. A promising and imposing debut, this eponymous effort reflects a band seemingly in search of a permanent musical habitat. (Rural Records)

British Columbians MySpace page

Rod Stewart: The Definitive Rod Stewart

He is without question one of the most gifted singers in rock history, but there’s something depressing about The Definitive Rod Stewart; granted, 15 of the songs on this two-CD/one-DVD set were Top 10 hits, yet one can’t help but think that Stewart has spent the majority of his career squandering his talent, hit singles be damned. Fans will point to his versatility, but it’s more like bandwagon jumping, from mellow gold to disco to new wave to the inevitable unplugged session (his mining of the Great American Songbook, thankfully, is not included here). To his credit, Rod could sell ice to the Eskimos, which is why “Do Ya Think I’m Sexy?” and “Infatuation” were such massive hits. Warner Bros. definitely picked all of the right songs for this set – though we would have included anything else from his catalog, even his cover of Free’s “All Right Now,” if it meant the exclusion of “Love Touch” – and the inclusion of a DVD featuring a bunch of his promotional videos is a nice plus. But the fact that this is Stewart’s definitive work is more damning than cause for celebration. (Warner Bros.)

Rod Stewart MySpace page

Guggenheim Grotto: Happy the Man

Their odd, ill-defined moniker aside, Guggenheim Grotto are a deeply emotive trio, hailing from Ireland but obviously adept at capturing universal sentiments, particularly when it comes to matters of the heart. On this, their sophomore set, the group opts for gentle, dreamy melodies that reside midway between the arched anthems of Coldplay and the contemplative designs of the Beautiful South, capped by soaring refrains coupled with a distinct sense of wistful yearning. That’s especially true of “Her Beautiful Ideas,” perhaps the most torrid song about severed romance in recent memory, and “Sunshine Makes Me High,” which regales in sublime inspiration. Likewise, “Oh Nikita” glides on supple rhythms and a bittersweet plea, while “Just Not Just” provides a breezy lesson in unrequited love. Indeed, there’s a profound sense of desire that permeates the set as a whole, a hope for a passionate connection that remains just out of reach. “What has love in store for me,” they ask plaintively on the guardedly hopeful “Lost Forever And?,” a song that surmises the answer but reaches no definitive conclusion. Its title to the contrary, Happy the Man finds bliss an elusive ideal and optimism all the more difficult to cling to. (United for Opportunity)

Guggenheim Grotto MySpace page

Zealousy: Complications

Zealousy is another one of those groups that wants to marry dark theatrics to their pop tunes. That’s fine and all, but this has been done much better before with far greater appeal (think Fuji Minx, for instance). Vocalist Amarie Darvai hits all the notes effortlessly, but there’s something about the mix of opener “Girl on the Edge” that pushes everything into distortionland. The rest of the group plays facelessly behind her, which is fine because you get the feeling this is all really her show. “So I Am” tries to play it off strong-willed and tough, but really doesn’t have claws as long as it likes to think it does. When the band tries for somewhat lighter moments, such as on “Drop,” Darvai’s performance just overshadows the rest of the group. She could stand to hold back just a little at times. A song like “Chemical Imbalance” plays out as annoyingly as you might expect from a group like this. My advice is for Zealousy to find a better producer, and perhaps musicians who don’t constantly take the piss from Amarie’s delivery on every song. It’s okay to be heard as well, you know. Otherwise, these guys are just treading the average waters with a nondescript sound. Ho hum. (self-released)

Zealousy MySpace page

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