Page 283 of 583

Cavedoll: No Vertigo

Cavedoll has released ten albums this year, 13 in all, and this review is as much a criticism of that mind-numbingly stupid idea as much as it is of their release No Vertigo. (It’s hard to tell if it’s their latest, keeping track of 10 album releases in a seven-month period isn’t easy.) The group is mostly a one-man show, with Camden Ray Chamberlain serving as the band’s guitarist, bass player, keyboardist and lead singer. He is also the sole creative force behind the scenes too, as he writes, produces, mixes and masters nearly all of the band’s songs as well. If you were to rank control freaks on a scale of 1 to 10, one being the communal vibe of Pearl Jam and 10 being the dominant assholery of Billy Corgan, Chamberlain has to be an 11 – he probably makes Roger Waters look like an open-minded ray of sunshine. It should be no surprise that No Vertigo is a massively uneven affair, filled with songs of varying in both style and quality. There are a few amazing tracks here, but there are also several duds, and the covers of “Paint It Black” and “Heroes” are filler on an already long album that has more than its fair share of useless tracks. Chamberlain probably thinks he’s doing something genius by releasing nearly every single song his band records, but he needs to remember that B-sides and outtakes exist for a reason. (Kitefishing 2008)

Cavedoll MySpace page

Steal This Song: Carlon, “Cantaloupe”

Holy “Jesus Was a Crossmaker,” Batman.

New Jersey: It’s not just for bar bands anymore. This quartet does the best Hollies impression we’ve heard in ages, good enough to blow away anything by Band of Horses, to whom the band is favorably compared in their press release. Now, we like that Band of Horses album as much as the next guy, but there isn’t anything on Cease to Begin that comes close to matching the beauty of “Cantaloupe.” Is it just us, or does everyone else hear Christopher Walken’s voice when they see the word ‘cantaloupe’? Blame it on too many viewings of “True Romance.”

The band’s full-length debut, Johari Window, comes out September 30. We can’t wait to hear the rest of it.

Carlon – Cantaloupe

Jimmy Witherspoon featuring Robben Ford: Live at the 1972 Monterey Jazz Festival

Jimmy Witherspoon was so enthralled with what he was hearing from his guitarist, Robben Ford, that he shouted his name in approval a dozen times throughout his ’72 Monterey Jazz performance (ten of those shouts occurring during the solo in “Goin’ Down Slow” alone), preserved here on disc. Ford truly did earn the co-credit on this disc, and eventually went on to play with Miles Davis a decade later. As for ‘Spoon, what’s even more entertaining than his jolly takes on classics like “Kansas City” and “Walkin’ By Myself” are his outbursts – threatening to tear away the stage curtain (“I’ll cut it! I’ve got my knife!” he shouts three times when the curtain is drawn after “Walkin’ by Myself”), and then cutting off his band midway through his performance of “Early One Morning” to tell the audience about the night he drank some scotch after forgetting that he had just popped some reds. To their credit, the band (bassist Stan Poplin, drummer Jim Baum, and Paul Nagel on Fender Rhodes) also stay plenty tight for ‘Spoon and Ford, anchoring a night that had to have been a total gas for all who were there. (Monterey Jazz Festival 2008)

Monterey Jazz Festival Records Myspace page

Shirley Horn: Live at the 1994 Monterey Jazz Festival

Listening with 2008 ears that have spent plenty of time with music of today’s standard bearer for female jazz vocals – Diana Krall, who else? – it becomes abundantly clear just how much a debt Ms. Krall owes to her forebear, husky-voiced singer/pianist Shirley Horn. Riding a wave of renewed interest that began in the late ‘80s, Horn came out swinging at her only Monterey Jazz Festival appearance. “Foolin’ Myself” and “Nice n’ Easy” are highlights, as is her rendition of “I’ve Got the World on a String,” which sounds awfully close to how Krall would approach it the following year on her second album. Best of all, though, is her total ownership of “The Look of Love” – she dips and swoons her way through a wonderfully elastic take on the Bacharach classic, with great sympathy from her rhythm section, bassist Charles Ables and drummer Steve Williams. (Monterey Jazz Festival 2008)


Monterey Jazz Festival Records Myspace page

Steven Alvarado: Let It Go

Up until now, New York singer/songwriter Steven Alvarado has dwelled mostly on high-minded precepts, with philosophical ruminations veering towards politics and religion. However, on his latest effort, Let It Go, he, well, lets it go, trading his proselytizing for dark deliberations about broken relationships. Largely acoustic, it opens with a flourish of earnestly strummed offerings – the rockabilly-tinted “Get This Far,” the ever-persistent “It’s For You” and, most notably, the vibrant and jangly “New York.” Ultimately though, the album falls prey to a veil of tears, a downcast demeanor that finds Alvarado reveling in his own despair. “Nobody Knows” is especially affecting, a loser’s lament that finds our hero “Drinking and thinking about you,” even though the woman in question apparently broke his heart into a zillion tiny splinters. Still, that’s only the first hint of apparent anguish; “Burning Bridges,” “Blue,” “It’s Alright” and “Gone, Gone, Gone” document bitter break-ups with unflinching animosity. Several star session players rally in support, but ultimately it’s down to Alvarado wielding his guitar like a weapon and blasting his ex partners in the process. (Mott St. Records)

Steven Alvarado MySpace page

« Older posts Newer posts »