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Talib Kweli & Hi-Tek Are Reflection Eternal: Revolutions Per Minute


RIYL: Common, Mos Def, Erykah Badu

It’s been a decade since Talib Kweli and Hi-Tek released their first album as Reflection Eternal. Following that album, Train of Thought (a critical and commercial success), the former has maintained his position as a darling of the hip-hop underground, releasing several albums that cemented his status as a lyrical genius. The latter has branched out into more commercial waters, providing beats for the likes of 50 Cent and the Game. The two have worked together sporadically in the last decade, but they’ve finally returned for a full-album collaboration with Revolutions Per Minute.

On this long-awaited effort, the Brooklyn MC and the Cincinnati DJ pretty much keep it the same as it ever was, with solid rhymes over soulful production. Kweli remains an amazingly gifted and literate rhymer, whether the subject matter is political (“Ballad of the Black Gold” could not be more timely) sensual (“Long Hot Summer”), or just plain ol‘ hip-hop braggadocio, as evidenced by the all-star posse cut “Just Begun.” As on the first Reflection Eternal album, Hi-Tek’s production is solid but unspectacular. Kweli’s worked with better producers (how dope would a Kweli/Kanye collaboration album be?), but he and Hi-Tek have a chemistry that keeps Revolutions fairly enjoyable. While the forays into crossover territory (featuring the likes of R&B songstress Estelle and hipster-pop duo Chester French) should probably be avoided, fans who’ve waited patiently for this album to surface will be pretty satisfied (and totally not surprised) with what they hear. (Blacksmith/Warner Bros. Records 2010)

Reflection Eternal MySpace page

Tom Petty & the Heartbreakers: Mojo


RIYL: Lucinda Williams, Jackson Browne, aging white dudes who like to toke up

Mojo is the strongest set of songs from Tom Petty & the Heartbreakers in over a decade and a half. Ever since “Mary Jane’s Last Dance,” the singer and the band have tried time and again to come up with a classic album that meets the standards of their earlier work. As the band has aged into one of the stalwarts of rock and roll, they have produced music that may be biting in the lyrics, but musically and production-wise lacked a certain edge.

During the Heartbreakers rise to success in the ’70s and ’80s, there was a danger in their music, perhaps because the band members were constantly at each other’s throats. Hostility brewed beneath the surface, from the fights between Petty and former drummer Stan Lynch, to the drugs and alcohol that affected the lives of bassist Howie Epstein and keyboardist Benmont Tench. At one point, Petty punched his fist through a wall, breaking his hand because he couldn’t get a song right. That kind of passion either cause a band to implode, or the members find a way to compromise and mellow with age. For the Heartbreakers, both kind of happened. Lynch quit the band and Epstein was asked to leave; he eventually OD’d on heroin. Meanwhile, Petty achieved nova-like success and decided that it was good to be king and that he didn’t want to fight all of the time.

Tom_Petty_15

The past fifteen years have seen some good Petty songs, but not necessarily good Petty albums. From the sound of it, Petty and the band set out to really change that with Mojo.

“Jefferson Jericho Blues” shares some of the same looseness of early Heartbreakers deep cuts, while Mojo’s first single, “I Should Have Known It,” is the cousin of “Mary Jane’s Last Dance” and “You Don’t Know How It Feels” (from 1995’s Wildflowers). Elsewhere, there are some tender ballads, which Petty never gets enough credit for, like the country-tinged “No Reason to Cry” and “Something Good Coming.” The latter holds up with some of Petty’s best heartbreakers.

Petty once claimed that he didn’t like repeating himself and the band continues to explore other genres besides the Americana rock they are famous for playing. “First Flash of Freedom” is an extended jam featuring fine guitar interplay between Mike Campbell and Scott Thurston. It feels like it may have been inspired in a haze of second-hand smoke during some of the Heartbreakers gigs with the Allman Brothers Band. “U.S. 41” is a swampy blues stomp; “Takin’ My Time” is embedded deep in the blues; and “Don’t Pull Me Over” has a reggae groove that will likely go over well in concert.

Throughout the album, Campbell and Thurston trade guitar licks with relish and Tench displays some of his finest organ playing and piano textures in all of the Heartbreakers long history. As usual, Ron Blair (the band’s original bassist who came back to the fold after Epstein was canned) holds things down with sturdy, unobtrusive bass playing.

Still, there is a sameness to this lot of songs that, unfortunately, must be attributed to drummer Steve Ferrone. The longtime session player plays with such precision and technical prowess that it lacks any personality. If the Heartbreakers are one thing, it’s a band full of personalities, from Blair’s dyed black hair to Campbell’s dreads to Petty’s entire personality. There are some tracks on Mojo in which Ferrone seems to find that Heartbreaker groove, but these are only moments. Frankly, it just doesn’t sound like the Heartbreakers, at least, not the Heartbreakers we’ve all come to love. Alas, it’s not our band but Petty’s; and if he’s happy with a human metronome behind the drum kit, then fans will have to live with it (seriously, the drums on “Let Yourself Go” and “Running Man’s Bible” could have been programmed in Tench’s organ, they’re that lifeless).

For this reason, despite the strong number of songs (there are a couple fillers- the curse of the CD age) repeated listens of Mojo may breed familiarity of the songs, but none of them really scream “classic.” (2010, Reprise)

Tom Petty & the Heartbreakers official site
Click to buy Mojo from Amazon

Indigenous: The Acoustic Sessions: A 10 Year Anniversary


RIYL: Stevie Ray Vaughan, Los Lonely Boys, Government Mule

Guitarist Mato Nanji is celebrating the 10-year anniversary of his band with acoustic renditions of songs that cover the band’s entire career. The anniversary covers the decade of album releases from the band’s 1998 debut Things We Do up through their most recent album, 2008’s Broken Lands. The band has always centered around Nanji’s electrifying guitar work on his trusty Fender Stratocaster. But as we see here, Nanji’s ace musicianship translates very well to the acoustic spectrum. These tracks also serve to highlight his ever-soulful vocals and strong blues songwriting.

The disc opens with two great tracks from Things We Do,; “Now That You’re Gone” and the title track. Both epitomize Nanji’s endearing style with bluesy but melodic tunes that feature sharp chord changes and lead guitar lines that sing. Nanji’s wife Leah also sings on the harmonies, helping to keep Indigenous a family affair (following the departure of Nanji’s brother, sister and cousin from the band in 2006.) Nanji then moves on the band’s great second album Circle, featuring “Little Time” and “Rest of My Days.” The former features some of the best riffing on the album over a tribal sort of rhythm. The latter highlights the way Nanji mixes heartfelt vocals with hard-hitting riffs to really dig deep into the blues. Both were electrifying in their original format, but work great acoustically too thanks to the stinging riffs, vocal melodies and crisp rhythms.

“Want You to Say” moves on to the band’s third eponymous album with one of the band’s top tunes, a deeply melodic and infectious love song that benefits from the husband and wife harmonies. Three songs are featured from the fourth album Chasing the Sun. “Fool Me Again” has some great note bending and more strong harmonies. “Come on Home” is a deep blues ballad that just oozes soul. “Leaving” has some of Nanji’s bluesiest riffs, and feels like it could fit on the soundtrack to a Clint Eastwood western. It also features some great guest fiddle work, which deepens the bluesy feel of the track even further. The last album is represented with “Should I Stay” and “Eyes of a Child,” two more soulful tunes that feature the deeper perspective of the passage of time. A playful cover of Roy Orbison’s “You Got It” closes the album on an uplifting note.

The whole album serves as a great back-to-basics exercise in the blues. It’s easier to impress with amps cranked, but Nanji’s virtuoso blues playing and songwriting really shines on these tracks. (Vanguard Records 2010)

Indigenous MySpace page

Grace Potter & the Nocturnals: Grace Potter & the Nocturnals


RIYL: Fleetwood Mac, Neil Young & Crazy Horse, Ryan Adams & the Cardinals

This is technically the band’s fourth studio album, but the eponymous release marks a new era for the group. Former bassist Bryan Dondero has been replaced with Catherine Popper (formerly with Ryan Adams & the Cardinals), and this change has created a new synergy for the band. Popper helps balance the gender dynamic with her harmony vocals and she drives the songs higher with her superior jam skills on the bass. Rhythm guitarist Benny Yurco has also been added to the lineup, helping lead guitarist Scott Tournet, drummer Matt Burr and keyboardist/guitarist Potter to embiggen their sound, as they’d say on “The Simpsons.”

The album is a showcase for Potter’s dynamic vocals and melodic rock style, but it also feels like a coming-out party for what in hindsight will probably be viewed as the band’s classic lineup. Potter has her mojo working from the start in “Paris (Ooh La La),” a high-energy sexual rocker. “Oasis” comes down a notch, but then builds back up as Potter’s voice and Popper’s bass seem to sync in with each other. “Medicine” cranks it back up with a another blast of down and dirty groove rock where Potter sings about a mesmerizing gypsy type of woman not unlike herself.

Lead single “Tiny Light” shows off the new lineup at its best. The overall sound conjures visions of Rumors-era Fleetwood Mac, before blasting into the stratosphere with a big jam driven by Popper’s dynamic bass line. The song also features some of Potter’s best lyrics, which acknowledge the chaos of the early 21st century but ultimately lead to an uplifting catharsis. The song also gives a snapshot of the band’s live power with the jam at the end, where Tournet rips a sonic blast of lead guitar and Potter belts it out to the extreme. Potter’s softer side shines on piano-driven ballad “Colors,” where her delicate vocals dedicated to the twilight time of day are sure to melt hearts. “Only Love” provides a another high-energy blast of skillfully layered blues rock, a sound that is the band’s bread and butter.

The second half of the album isn’t quite as strong as far as memorable songs, although the band’s sound remains vibrant. “One Short Night” is a catchy number with a funky flavor about a questionable night out, while “Low Road” explores a bluesier territory with Potter still shining on vocals. “Hot Summer Night” is another sexy rocker similar to “Medicine” and “Only Love.” It would be nice to see Potter explore a wider variety of sonic flavors, but there’s no doubt this is one she’s very good at. “Things I Never Needed” closes out the album with a contemplative and endearing ballad. The first half of the album gets four stars, but the second half gets only three, so that’s three-and-a-half overall. This is a very good album, but the next one should be a true classic.

The band’s five-star live show is where they shine the brightest. When Potter & the Nocturnals played at Austin’s SXSW Festival in March, they highlighted the new material and knocked it out of the park with high-energy, jam-heavy performances in both an evening headliner show and a day-party performance. The band was good in 2008, but this version is at a higher level. Whoever orchestrated Popper’s entry into the band on bass should win rock ‘n’ roll’s “general manager of the year” award for the transaction. (Hollywood Records 2010)

Grace Potter & the Nocturnals MySpace page

Robyn: Body Talk Pt. 1


RIYL: ABBA, Annie, Goldfrapp

No one in mainstream pop blends cutting-edge production flourishes with devastating hooks better than Robyn. You want to know what’s wrong with the major record labels in 2010? Don’t look at illegal file sharing, look at the fact that not one of them was able to turn her into a dancefloor-ruling superstar after her debut. More power to Robyn that she’s releasing her music on her own imprint and her own terms, but in the old days, talent like this was locked up, placed in indentured servitude, and used to make tons and tons of money. When Christina Aguilera recorded her silly Bionic, she wanted to be as cool as Robyn.

Robyn

Compare Bionic with Body Talk Pt. 1 – supposedly the first of three Robyn releases this year – and you’ll hear how far Aguilera, and everyone else on the American pop scene, has to go. At just a blonde hair over half an hour, Body Talk covers more ground than most dance-pop singers manage to stake out in a career, from the trippy, spoken-murmured opener “Don’t Fucking Tell Me What to Do” to the closing number, the Swedish traditional song “Jag Vet En Dejilg Rosa.” In between, you get the delicious champagne fizz of “Fembot” and the prom-theme-in-waiting “Cry When You Get Older” (suck it, Vitamin C!), plus a moody dance track (“Dancing on My Own”), a chilly slice of synth reggae (“Dance Hall Queen”), a space-age Röyksopp collaboration (“None of Dem”) and even a piano ballad for good measure (“Hang with Me”).

It’s smart, instantly addictive, and it’s over before it gets anywhere near wearing out its welcome. While Robyn’s imitators are busy copping her sound, they’re all missing the important part – it’s the songwriting, stupid – and if you aren’t a fan yet, then you’re missing out too. Time to correct the error of your ways. (Cherrytree/InterscopeKonichiwa 2010)

Robyn MySpace page

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