Category: Rock (Page 121 of 241)

Amie Miriello: I Came Around

September 19, 2008 / Mike Farley

Amie Miriello’s debut album, I Came Around, is the first release on Jive/Zomba imprint Bellasonic. In some ways, there are lots of different forces at work, but consider that Miriello’s music most immediately sounds like Alanis Morissette or Nelly Furtado. Add to that production help from Rob Wells (Backstreet Boys), David Hodges of Evanescence and Mitch Allan of SR-71, and this is radio magic waiting to happen. Of course, it doesn’t hurt that Miriello has a dynamic voice, despite the fact that she tends to overdo things at times. The best tracks are the catchy opening title track and the second song “Pictures,” the latter of which sounds like Morissette or another ‘90s popster, Chantal Kreviazuk. And the final track, the R&B-tinged power ballad “Hey,” is also decent. But in between, parts of the album tend to grate on the eardrums. In particular, the vocal acrobatics Miriello attempts on “Beauty of Goodbye” and “Mother Cries Wolf” border on annoying. Taken as a whole, though, this debut is better than average and worth checking out, especially if Top 40 or alt-pop are your cup of tea. (LABEL: Bellasonic)

Amie Miriello MySpace page

Alternative, CD QuickTakes, CD Reviews, Pop, Power Pop, Rock

James Jackson Toth: Waiting in Vain

September 19, 2008 / Lee Zimmerman

Toth’s psychedelic combo Wooden Wand provided a promising template for this, his solo debut, but despite his persistent croon and a decidedly dark ambiance, it’s far less cryptic than that previous project. Toth enlists a back-up band with considerable credentials – among them, members of Wilco, Deerhoof, Vetiver and Geraldine Fibers, as well as his wife and foil, Jexie Lynn. – giving him plenty of room to maneuver within their fluid arrangements. “Nothing Hides,” “Do What You Can” and “Midnight Watchman” seem somewhat innocuous on first glance, but there’s a sinister subtext in Toth’s tales, with shady characters, worrisome encounters and a general air of pervading doom tainting the atmosphere. Indeed, lyrics like “Cocaine and bourbon, pinball and pool – look in on me/Don’t leave me to face the slow death of a fool” and an inside cover photo of Toth cradling a revolver confirm his shaded intents. Swagger turns to stagger on the woozy ballad “Poison Oak” and the aforementioned ode to decadence, “Look in on Me,” but overall, this is a most assured collection and a distinctive one at that. (Rykodisc)

James Jackson Toth MySpace page

CD QuickTakes, CD Reviews, Music Labels, Rock

Ry Cooder: I, Flathead

September 17, 2008 / Lee Zimmerman

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Ry Cooder’s artistic ambitions have always driven him to be an archivist of sorts, from his earliest days as a session player serving a wide array of A-list artists, to his initial solo efforts retracing the blues and on to his later forays into world music, including the groundbreaking collaboration with Cuban musicians that birthed the universally acclaimed album by the Buena Vista Social Club. More recently, Cooder’s musical explorations have veered closer to home while remaining no less eclectic. Consequently, I Flathead completes his so-called California trilogy that began with Chavez Ravine and My Name Is Buddy, an album cycle which spans the underlying influences that steered the state’s native sounds, from rock ‘n’ roll and rockabilly to the feisty sounds emitted from its barrooms and barrios. Country still claims the most attention here – as evidenced in the titles “Johnny Cash” and “5000 Country Music Songs,” each of which references initial influences – but rock, ragtime and mariachi music also add to the mix. The deluxe edition adds a 96-page narrative that further underscores the premise (a group of guys racing in the salt flats and a fictional band of vintage variety) but whether the songs serve the story or vice versa is really no matter. An album driven by ambitious intents, I, Flathead is a new milestone on Cooder’s journey of rediscovery. (Nonesuch 2008)

“Ry Cooder MySpace page“

CD Reviews, Country, External Music, Folk, Rock

Benjamin Taylor: The Legend of Kung Folk Part 1

September 12, 2008 / Mike Farley

Once you get past the odd title of this album and just listen, one thing is clear — it’s never been more evident that this is James Taylor’s son. Benjamin grew up with James and Carly Simon teaching him right from wrong, and somewhere in there he just couldn’t help but inherit those artistic genes and his dad’s vocal tone. But whether it’s music industry politics or the fact that the kid has huge shoes to fill, Benjamin has yet to emerge as the same star his parents were, and are. But that doesn’t mean he doesn’t write beautiful pop, and The Legend of Kung Folk Part 1, his third album, is Taylor’s best work yet. It’s jazzy, New York City inspired intelli-pop, and it’s as easy on the ears as a feather to skin. As for the title, it appears that Taylor is just having a little fun, but his songs are a bit more on the serious, heartstring-grabbing side. Two of the best tracks are the haunting “She’s Gone” and “Dangerous Girl,” but the closer, “After It’s Over,” is the prettiest piano ballad of the year, and tailor (no pun) made for a movie soundtrack. (Iris Records)

Benjamin Taylor MySpace Page

CD QuickTakes, CD Reviews, Pop, Rock

The Break and Repair Method: Milk the Bee

September 12, 2008 / Lee Zimmerman

Up until now, it’s been Matchbox Twenty front man Rob Thomas who’s profited most from the band’s upward trajectory, given the high profile he’s attained with his solo standing. Now it appears that drummer Paul Doucette is ready to take the same route, thanks to a superb side project titled the Break and Repair Method. While the origins of the name seem somewhat hazy, the music’s anything but, given its unabashed display of effusive optimism. Titles like “You Won’t Be Able to be Sad,” “Life Gets Beautiful” and “Won’t Get Worse” offer first hints as to its more upbeat offerings, while the sparkling melodies and loping tempos affirm Doucette’s starry-eyed sentiment. Likewise, “This City Is Bound to Do Us In,” “Forget about the Brightside” and “I’m at a Low” provide the contemplative yin to that celebratory yang, their sentiments seemingly more restrained but fortunately no less embracing. An excellent debut, it ought to find Doucette following on the heels of Thomas’ solo success.