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Cake: Showroom of Compassion

February 1, 2011 / R. David Smola

RIYL: The Presidents of The United States of America, Ween, Cracker

John McCrea’s deadpan vocals in combination with catchy bass lines and economical but effective horn work make Cake a very unique-sounding band. When you hear a Cake song, you know it’s Cake – there is no hesitation on determining the artist. They flirt with making dance music because the songs are, well, very danceable in a fraternity kegger party way. Showroom of Compassion is the band’s latest and the first Number One (on the Billboard Album charts) of their career. It’s textured and they play with the Cake sound formula and shade it differently, but in the end they build a very solid Cake-like effort.

“Teenage Pregnancy” starts off with some earnest piano recital work before giving way to a deep bass line. Some interesting keyboard work gives off a calliope vibe to create an instrumental that’s equal alternative gem as it is circus music. That track is followed by their latest hit, “Sick of You,” which like “The Distance,” “Never There” or “Short Skirt/Long Jacket,” gets stuck in your head and absolutely won’t work its way out. It has that thump and a repetitive but fun chorus that traps you. “Easy to Crash” pushes Cake as far as they are going to go in the rocking direction, which is then followed by the country folk of “Bound Away.” Essentially, that is the beauty of the band; they weave in and out of different combinations of styles but never ever sound like anyone other than themselves. They sound familiar but never boring. “The Winter” features a supporting vocal track that is reminiscent of 10cc, while some excellent Spanish influenced brass is thrown in for good measure. The record tracks in at about 40 minutes and gives you enough. It’s satiating, but leaves you wondering what interesting tweaks and catchy song they will come up with for their next effort. (Upbeat Records 2011)

Cake MySpace page

Alternative, CD Reviews, Pop, Rock

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Red: Until We Have Faces

February 1, 2011 / Bill Clark

RIYL: Chevelle, Breaking Benjamin, Three Days Grace

Twice-nominated for Grammys and one of mainstream rock’s most successful acts, Red are back with their third studio release, Until We Have Faces. Revolving around the theme of seeking one’s identity (and at least partially-inspired by the C.S. Lewis book, “Till We Have Faces”), this new offering may be the record that Red’s detractors have been foaming at the mouth for. It’s a pretty safe, mainstream offering that sees the band doing what they do best, and not much more. Guess what? It still rocks.

Kicking off with its heaviest track, “Feed the Machine,” Red attack the sound system with a simply epic sound. Featuring heavily down-tuned guitars punctuated with string arrangements and soaring choruses Red’s music personifies “brutal but beautiful.” The single, “Faceless,” is one of the stronger tracks and a very safe radio play. “Let it Burn” and “Not Alone,” in the same vein as previous tracks “Let Go” and “Start Again,” display the band’s penchant for ballads and layered melodies. The closing track, the piano-driven “Hymn for the Missing,” takes on a mythic beauty that holds long after the album is finished.

Red is anchored by vocalist Michael Barnes, whose emotional delivery and at-times wicked scream continues to lift what would otherwise be standard issue rock songs. He’s the perfect fit for what are mainly hopeful, positive lyrics (Red is, after all, a Christian band). The rest of the band is tight, and guitarist Anthony Armstrong carries a one-man army of a tone. Producer Rob Graves, who also produced Red’s previous efforts, knows these guys have a good thing going.

Red are really one of the last truly mainstream rock acts around. They’re heavy enough to bring in fans of more aggressive music, but friendly and catchy enough to cross over to contemporary rock fans. The sensational vocals of Barnes and the beautiful orchestral arrangements really help them separate from the competition. Those expecting progression from a technical standpoint will be disappointed, but savvy veterans content with Red’s place in the musical landscape are going to find a whole new batch of songs to love. (Red Ink/Sony 2011)

Red MySpace page

CD QuickTakes, CD Reviews, Christian, Rock

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Wooden Wand: Death Seat

February 1, 2011 / Scott Malchus

RIYL: Acoustic Springsteen, Johnny Cash, Tom Waits

Wooden Wand’s latest, Death Seat, is a collection of acoustic dirges that recall long nights sitting around drinking, maybe on the front porch with the fireflies flickering up the night, or maybe in a dank bar somewhere in the sticks, where the beer is a little flat and the whiskey has a cheap bite.

Singer, songwriter James Jackson Toth, aka Wooden Wand, has a voice reminiscent of a young Mick Jagger. It has that darkness and snarl we all fell in love with the first time we heard the Stones. The songs Toth has written for Death Seat are soaked in folk and the blues, giving the album the feeling of something recorded 40 years ago, not 2010.

The highlight of the album is “Bobby,” a pained ballad that reflects on a friend who’s left this world too soon. It’s a haunting song that will stir up remorse for anyone who has lost a friend this way. Songs like “I Made You” and “Servant to Blues” are spooky numbers, while “I Wanna Make a Difference” is a soulful confession between the protagonist and a lover or a family member.

If you’re a fan of Springsteen’s Nebraska or Johnny Cash’s American recordings, sparse albums full of dark storytelling, Death Seat falls in that same territory. It’s not the kind of album you throw on in the middle of a house party. However, once the guests have left and everyone is winding down, Death Seat has the kind of late night coolness that feels just right. (Young God 2010)

Wooden Wand MySpace page

CD Reviews, Folk

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Slash hosts post concert party at TAO

January 31, 2011 / Music-lover

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Friday night Slash hosted his after concert party at TAO. After opening for Ozzy Osbourne, Slash, his wife Perla and a large group of friends gathered for a dinner of signature dishes at the Asian Bistro, including the rocker’s favorite, General Tso’s Chicken.

On the red carpet he shared that he loves coming to Vegas because it is so close to Southern California and he has so much fun here. He said he has some projects coming up for his movie production company, Slasher Films, but said there are no plans for him to get in front of the camera as he is only going to produce.

Slash and the group, including Laura Croft from Holly’s World, arrived upstairs in the club to great fanfare, taking over several tables on the dance floor as fans crowded to get pictures. He joined DJ Ross One in the DJ booth, announcing to the crowd that he was going to play make shift DJ and, “and interrupt your regular programming for an hour or so.” Slash started off his set with Sweet Child O’ Mine, Welcome to the Jungle and Crazy Train, setting the stage for the perfect night. After getting the party started, Slash returned to his table to watch the crowd enjoy his specially selected play list.

Photo credit: Tony Tran/Powers Imagery

Concerts, News

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Cara Jean Wahlers and Grover Parido: Goodnight Charlotte

January 31, 2011 / Scott Malchus

RIYL: Lucinda Williams, Patty Griffin, Joni Mitchell

Goodnight Charlotte is the debut album from Cara Jean Wahlers and Grover Parido. It’s an intimate collection of songs that feature the primary instruments of Wahlers’ wonderful singing voice and Parido’s cello playing. This unique paring of singer/songwriter and cellist working together for an entire CD may not be new, however, on Goodnight Charlotte, the music is fresh and vibrant and the lyrics are thoughtful, creating a unique experience.

Wahlers’ songwriting is very visual, creating a sense of place and time. As a storyteller, she’s reminiscent of Lucinda Williams or Joni Mitchell, two names her publicist has included as influences. The singer’s voice recalls the elegance and naturalness of Mary Chapin Carpenter, another great singer/songwriter who can put you at ease, even though she’s breaking your heart.

Parido’s cello playing adds another layer of poignancy to Goodnight Charlotte. The instrument is such a melancholy instrument to begin with that no matter how hard Parido may try, his performances tinge the songs with sadness. Take a listen to “Black Dog,” a beautiful tale about a long lost love, and you’ll understand. Parido takes a solo on every single song and his presence fills in the empty spaces of Wahlers’ sparse guitar playing. This partnership between Wahlers and Parido is effective and lifts the material above the usual coffeehouse fare.

Still, it would have been interesting if they’d included a couple of songs that were just Wahlers backed by her guitar, and maybe some other acoustic instruments. The singer has a strong enough voice ad her guitar playing is subtle enough that she could have survived without the cello. This would have given Goodnight Charlotte just enough variety to make the album a classic. That said, it’s still a fantastic debut and will keep me looking out for this duo when they release future albums. (CDBY 2010)

Cara Jean Wahlers MySpace page