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Butch Walker and the Black Widows: I Liked It Better When You Had No Heart


RIYL: Candy Butchers, Fountains of Wayne, Bryan Adams

Before he became as ubiquitous in the pop/rock music world as Kara DioGuardi and Diane Warren, Butch Walker was so totally cool. He fronted an indie modern rock band called Marvelous 3, a group that put out a few blistering albums of awesome power pop. Then Walker went out on his own and delivered one of the best rock albums of all time in Left of Self-Centered. Naturally, he started to get phone calls from other artists and labels and managers, wanting him to write with, produce and guide artists such as Pink, Bowling For Soup and Avril Lavigne. He also released a few more solo albums along the way. And while nothing measured up to Left of Self-Centered or the Marvelous 3 stuff, Walker has clearly taken two steps backward with his latest, I Liked It Better When You Had No Heart. Maybe it’s because this one comes a little over a year after his latest, Sycamore Meadows, because being that prolific has a tendency to water down the material. In addition, part of the problem here is that while some of the songs seem catchy while you’re listening, you won’t be singing any of them afterward, because they’re not memorable, at least not based on the very high bar Butch has set for himself. There are a few exceptions, like “Stripped Down Version,” which has some slick guitar work and pretty harmonies, or “She Likes Hair Bands,” featuring lyrical snark reminiscent of the Marvelous 3 days. But on the likes of “Trash Day” and “House of Cards,” some of you die-hard Butch fans will be hitting “skip.” And while the closer, “Be Good Til Then,” carries a beautiful sentiment and was written for his very young son, the repetitive melody is more tired than anything Walker has ever delivered. I Liked It Better When You Had No Heart, will, sadly, have Butch fans saying that they liked it better when his songs had heart. (One Haven 2010)

Butch Walker website

Locksley: Be in Love


RIYL: The Beatles, The Strokes, The Kinks

The Brooklyn-by-way-of Madison quartet Locksley still holds a dubious honor in the Bullz-Eye/ESDMusic camp for the press release that announced the release of their debut album Don’t Make Me Wait. It was, without question, the worst press release we’ve ever seen, dismissing the entire Midwest as beer-drinking fatties with lousy taste. Here is the opening sentence. Try not to choke on the condescension:

Wisconsin is one of those Midwest states that we all assume is running rampant with overweight Miller High Life drinking blue collar boys at the Lambough Field.

We later learned that the person who wrote this is from, yep, Wisconsin. (To set the record straight, the band had nothing to do with the press release.) We’re pretty sure misspelling ‘Lambeau’ is punishable by death there, but we’ll have to get back to you on that.

At any rate, the press release did a terrible disservice to the band, as their debut was a smoking hot mixture of ’60s pop rock with modern-day attitude, and singer Jesse Laz can do spot-on impressions of both Lennon and McCartney. The band’s sophomore effort, Be in Love, is more of the same, and that’s perfectly fine. (You hear that, Vampire Weekend fans?) However, the songs don’t quite pop like the first batch did. There are some standout moments, notably the handclap-happy “It Isn’t Love” and surefire first single “Darling It’s True.” In the end, though, the Strokes comparison proves rather fitting, as Be in Love is their Room on Fire; it sounds just like the debut, only not as exciting. (Feature Records 2010)

Locksley MySpace page

Jimi Hendrix: Valleys of Neptune


RIYL: Buddy Guy, Stevie Ray Vaughan, Phish

The music gods have once again seen the time fit to bless us Earth-bound humans with some more musical treasure from the late 1960s, this time with 12 previously unreleased studio tracks (mostly from 1969) from the greatest guitarist of all time. They sound more like they were recorded in 2009, which is fitting since Jimi was way, way ahead of his time. Thanks go to Jimi’s timeless skills and mixing by the great Eddie Kramer, who engineered Jimi’s recordings back in the day.

The title track is obviously the centerpiece of the album, and for good reason. If one tried to imagine a lost track from the First Rays of the New Rising Sun sessions, this is exactly what you would hope for. It’s got the funky sound that Jimi was exploring more and more toward the end of his all-too-brief time here on this rock, along with the metaphysical vibe he was increasingly getting into, with lyrics referencing Atlantean love songs and impending Earth changes. It’s classic late-era Jimi – the louder you turn it up, the better it sounds. The song is sandwiched in between a smoking “Stone Free” and a cover of Elmore James’ “Bleeding Heart,” to open the album with three consecutive numbers featuring Billy Cox on bass, while the rest of the album has Noel Redding.

Jimi’s take on “Bleeding Heart” is an up-tempo bluesy rocker that sets the stage for deep blues treasure on “Hear My Train a Comin’.” The latter is well-known by fans of Jimi’s highly influential Band of Gypsys project, with the Live at Fillmore East version being one of Jimi’s greatest performances. But it’s always nice to get another version of a seminal jam, and Jimi is clearly feeling it here. Clocking in at seven and a half minutes, it’s the second longest track on the album (only “Red House” is longer), and it’s a showcase for all of Jimi’s skills with some nice scatting going on behind the first solo, and then some of his best wailing on the second solo.

The album also features two other premiere performances. “Ships Passing Through the Night” presents a mid-tempo tune about lonely ships hooking up and shaking the blues out of one’s hair. “Lullaby for the Summer” features Jimi riffing out all over, with the trio shifting directions toward a more syncopated groove in the middle of the song. This makes Jimi’s hot licks stand out even more, demonstrating superb use of sonic spacing.

“Mr. Bad Luck” is a funky blues workout from 1967, with Jimi clearly having been in a good mood during the recording. “Lover Man” gets a similarly tasty workout, but it’s Cream’s “Sunshine of Your Love” that conjures the big jam. Several live versions have been released before, but this one is a keeper, with a nice breakdown in the middle that builds back up into a big crescendo.

Familiar classics “Fire” and “Red House” get fresh readings and Jimi’s playing is scintillating on each. “Red House” gets the deluxe treatment with an extended jam taking the track past eight minutes as Jimi digs deep into the blues well. The album closes out with “Crying Blue Rain,” a tune that starts as a slow burner but picks up speed until it’s cruising over a galloping bass line. Jimi doesn’t go wild, but his rhythm playing is quite inventive, creating a superb collective groove that shows how to play for the song. He’s still the master.

Gorillaz: Plastic Beach


RIYL: Blur, mid-period OMD, Saturday morning cartoons

Damon Albarn is surely still scratching his head over the fact that he had to hide behind a crudely drawn character in order to sell a million records in the US, while the humanoid version of Albarn remains a cult act, be it with Blur or the Good, the Bad & the Queen, his project with the Clash’s Paul Simonon. Give him credit, then, for not capitalizing on this loophole by turning the Gorillaz into a Hannah Montana-style media juggernaut, churning out an album, plush doll, video game and TV show every 18 months. God knows, it must have been tempting. Sell millions of records, or don’t sell millions of records? Credibility is nice, but as David Cross pointed out, those outside the industry are stingy about accepting it as collateral.

Gorillaz_04

Indeed, it’s been five years since Albarn has donned the ink and paper, and if the Gorillaz’ new album Plastic Beach is any indication, the anger that fueled 2005’s Demon Days has subsided. Unfortunately, Albarn’s energy level seems to have subsided as well. The album doesn’t shift gears much, opting for mid-tempo grooves that you’d expect from a Jack Johnson or a G. Love. “On Melancholy Hill” sounds like OMD circa The Pacific Age. This is not your older brother’s Gorillaz, though that’s not entirely a bad thing. The album may be completely lacking in bottom end – you’d have to go back 30 years to find tinnier drum tracks – but Albarn is still good for one unforgettable single, in this case the “Safety Dance”-ish “Stylo,” featuring a passionate vocal from Bobby Womack. De La Soul return to guest on the cutesy “Superfast Jellyfish,” and “To Binge,” a perky duet with Little Dragon, is one of the best pop songs Albarn’s written in years. He gets a bit carried away with the guest performers, though. Did he need Mos Def and Bobby Womack and De La Soul and Mark E. Smith and Lou Reed and Snoop Dogg and Mick Jones and Paul Simonon? (And that’s not even all of the guest performers.) Albarn ultimately minimizes his contributions to his own album.

Perhaps the most perplexing aspect about Plastic Beach is its warmth, or lack thereof. This is one cold album, and perhaps that was Albarn’s point. If so, mission accomplished, but it could come at a huge price. His band is already artificial; when the music begins to feel the same way, discontent is sure to follow. There is much to admire about Plastic Beach, but it’s also one of the most emotionless albums you’ll hear this year. (Virgin 2010)

Gorillaz MySpace page
Click to buy Plastic Beach from Amazon

The Hours: Ali in the Jungle EP


RIYL: The Wonder Stuff, The Verve, Pulp

We love when good things happen to good bands. The Hours quietly released one of 2009’s finest albums with the sky-high See the Light, and someone at Nike clearly took notice, because the band’s 2006 single “Ali in the Jungle” just scored the company’s recent “human chain” ad, which ran roughly one kajillion times during the Winter Olympics. The song is a killer, with one of those instantly memorable choruses that will serve as the soundtrack for sports montages for generations to come. “Everybody gets knocked down / How quick are you gonna get up?” challenges singer Antony Genn in his Miles Hunt-like tenor, complemented by a punchy piano riff. The EP is short, a mere four tracks – and one of those tracks is an orchestral version of the title track – hence the mere three-and-a-half-star rating, but perhaps they are planning a more proper US release for See the Light later in the year (one song from the album, “These Days,” can be found here), after its brief availability as a download last year. One can only hope, anyway. British pop fans, get this while the getting is good. (Hickory Records 2010)

The Hours MySpace page
Click to buy Ali in the Jungle from Amazon

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