Babasonicos / Anoche (Universal) South American
The fifth album by the Argentinian rock en Espanol group has a very polished, major label sound, sometimes too much so, like on the super-sweet pop confection “Capricho” (#9) or the pop ballads “El Colmo” (#10) and “Examenes” (#12). But fortunately they also know how to rock out in a classic way, as on the opening “Asi Se Habla,” “Ciegos por el Diezmo” (#11), “Luces” (#14), and “Solita” (#6). “Falsario” (#8) has a more modern rock sound mixed with a thumping dance beat, not a bad combination. “Carismatico” (#2) has a touch of classic power pop and a nice driving beat, but the next two songs (“Yegua” and “Un Flash”) sound almost identical. The rest of the cuts are fairly forgettable mainstream fare. It’s obvious that Babasonicos is striving for mass appeal, which unfortunately detracts from what is clearly a talented group. They still get it right about half the time, making part of this disc well worth a listen.
Paul Borelli 5/5/07
The Bad Plus / Prog (Heads Up) Jazz
The Bad Plus are famous for bringing a rebellious rock n roll sensibility and attack to the piano jazz trio format. This, their fourth major release, follows the same pattern as the previous three—creative, thought-provoking, and yet exhilarating originals and a batch of recognizable covers you wouldn’t expect from a piano jazz trio. The covers draw the most attention because most music fans are not jazz fans but will respond to something they already know. However, the fourth time around, the covers schtick is starting to wear thin, or perhaps the group is tiring of the idea. But the originals are still dynamite, which means real music fans will still find plenty to like here. Tears for Fears’ “Everybody Wants to Rule the World” (#1) is slow, quiet, languid—not what you expect from this song, but not especially interesting either. Bowie’s “Life on Mars” (#3) starts quietly and builds in intensity as does Bacharach & David’s “This Guy’s in Love With You” (#8) twice within its nearly 5 minutes, notable only in drummer David King’s ferocity in the louder portions. But, ah, those originals—most show off the group’s intensity, flourish, and virtuosity, with the exception of the more measured but no less excellent “Giant” (#5). “Thriftstore Jewelry” (#6) has a Latin-esque rhythm and an extended solo by King. “Mint” (#4) is the most rhythmically challenging, never settling into a recognizable meter. “Physical Cities” (#2), as the name implies, is very physical, with hard-driving rhythms and unexpected forays down side-streets and alleys. And that’s how it is with the Bad Plus—taking a journey that might leave you white-knuckled, but one that you’re glad you took.
Paul Borelli 6/9/07
Bang Gang / Something Wrong (From Nowhere) Indie Pop
Iceland’s Bang Gang is largely the work of Bardi Johannson, who wrote or co-wrote all the but one of the songs, sings on many tracks, and plays many unspecified instruments on this very accomplished, appealing set of indie pop. As you might expect from a band from Iceland, many songs have a slow, dark, minor-key vibe with piano, electric keyboards, and acoustic guitars, creating an atmosphere befitting a place of cold, dreary winters. The lyrics, usually limited to a few lines repeated over and over, express yearning for a love that was or could be. And despite the promo sheet’s hype declaring, “Bang Gang is unlike anything you’ve heard,” they sound very much like Air. The opening track, “Inside,” features Esther Talia Casey on vocals over electric piano and strings, building in intensity as it progresses. Johannson takes over on lead vocals, backed by acoustic guitar and piano on “Follow” (#2), adding some electronic, mind-bending effects about 2 minutes in. “It’s Alright” (#4), one of the best tracks, again features Johannson’s multi-tracked vocals with plenty of echo. Keren Ann makes a guest appearance on lead vocals on “Forward and Reverse” (#6), another slow, minor-key ballad. The pace picks up on “Find What You Get” (#7), with more prominent drums, bass, and electric guitar. Then there’s a brilliant indie pop interpretation of the Supremes’ classic “Stop in the Name of Love” (#9) with an easy, breezy beat replacing the original’s stomp. The closing “Look at the Sun” (#12) is largely instrumental. Bang Gang may not be as original as advertised, but they definitely bear watching.
Paul Borelli 3/24/07
Lauren Barrett / Look Around (self-released) Rock
She doesn’t have a bad voice but the production is over heavy & muddy & obscures her vocals on most of the tracks. Slower songs sound a bit better in that respect. Tries to be everything from punky to alternative to jazzy pop and is all over the place and doesn’t do it well, in my opinion. Songs have no hooks to latch onto, except for “C’est La Vie” (#3) which is not FCC compliant. She is a New Orleans native, relocated to Austin TX, and moved to LA in 2004, teaming up with Goo Goo Dolls’ drummer Mike Malinin to record her EP ‘This Is Real’. Recently voted VO5’s Next Red Hot Rising Star, in their nationwide search for the next big thing. Nominated for LA Music Award’s Best AAA Album of the Year. Knowing all this, she’s still not all that impressive. She strikes me as something of a cross between Shawn Colvin and Avril Lavigne but without the chops to pull it off.
SJ Williams 10/08
Battles / Mirrored (Warp) Prog Rock
Composed of former members from Helmet, Don Caballero, Tomahawk, and Lynx, Battles represents another of the new breed of indie progressive rock, or, in this case, progressive post-rock. Relying on computer and tape manipulation, as well as razor-sharp playing on a variety of instruments, Battles constructs nearly orchestral movements that frequently take unexpected turns and make for an exhilarating listen. The opening “Race: In” begins with a rhythmic rim shot and alternating arpeggio guitar patterns before vocalist Tyondai Braxton enters with some X-files whistling. Additional layers of Steve Howe-like guitar, bass, hammer-like keyboards, and kick drum enter and exit as Braxton adds multi-part vocals that are sped up to Chipmunk height as the track ends. “Atlas” (#2) starts with a boogie rock rhythm (think “La Grange”) on drums and guitar with more manipulated, Chipmunk-ish vocals; later in the 7-miute track, the guitar, bass, and drums are chopped and manipulated as well. “Ddiamondd” (#3) uses falsetto vocals so fast as to be unintelligible, more whistling, and a wicked bass line, all at breakneck pace. “Leyendecker” (#5) uses a marching drum line, deep bass, hummed vocals, and needle-like keyboard lines. “Bad Trails” (#7) is more rolling in its rhythm with Braxton’s vocals swooping up and down like a sine wave. “Tij” (#10) seems to start out like a hiccup but eventually finds its pounding, frantic rhythm about half way through. One could go on trying to describe each of the pieces, but this is angular, jarring, and still very musical work that must be heard first-hand. Isn’t that the mark of great music?
Paul Borelli 6/30/07
The BDI's / s/t (self-released) Rock
Formed in the mid-90s as The Panda Gang, this London-based group has churned out a steady stream of singles and EPs over the past decade before finally releasing this, their first full-length, under their new name. The sound is vintage British blue-eyed soul with a dash of funk and a whole lot of pop smarts that will appeal to fans of Squeeze, Ace, and any other Paul Carrack-involved groups. The opener “Lucky Like That” begins with some insistent kick drum and funky wah-wah guitar and will immediately draw comparisons to Squeeze’s “Tempted,” though with less organ. By contrast, the closing “Marathon” (#14) is a slice of sweet 70s soul driven by a syncopated rhythm, piano, trumpet flourishes, and smooth backing vocals. “The Islands” (#5) also recalls 70s smooth soul with electric piano, slinky guitar, a nice key change midway, and more of those sweet backing vocals. For a harder funk edge, try “William the Conqueror” (#12) or the up-tempo “The Wrong Man” (#13). Occasionally, the lead vocalist (not identified in the liner notes or on the band’s web site) teeters on the verge of discord, probably most notable in “Still Get the Same Old Kick” (#3), but his delivery also conveys a keen sense of longing and urgency, well-suited to the theme of lovesick desire. Though they’ve been at it over a decade, and their polish shows it, this is one debut that bears watching.
Paul Borelli 12/13/07
The Beltholes / For Whom the Beltholes (Burn Burn Burn) Rock
The Beltholes are a straight-up rock and roll band whose classic rock- and punk-inspired tunes are generally short and sweet. They evidence various influences, including Pink Floyd, The Kinks, Todd Rundgren, Big Star, and The Ramones. Each song is a grab bag of switch-up drum tempos, crashing piano, and some synth effects that seem more at home in the Dub genre; somehow the Beltholes maintain a sunny, laid back vibe throughout. For a good time, spin the eclectic punky song of jealousy that is “Ex Girlfriend” (#3, 1:51). Also try “Bored With the Lord” (#4, 3:16) which is a boogieing Kinksesque revivalist tune. You’ll also like the Old 97’s sound and rockabilly riff that kicks off “More Bad News” (#6, 2:08). If you’re a fan of the Black Crowes or the Bottle Rockets, you’ll like “Minus on the Wedding” (#9, 3:20).
Leah Manners 9/12/07
The Berg Sans Nipple / Along the Quai (Team Love) Electronic
The Berg Sans Nipple is a cross-Atlantic team of Nebraskan Shane Aspegren and Parisian Lori Sean Berg who likewise cross the genres of electronica and indie rock. This first full-length effort alternates between predominantly instrumental electronica pieces (tracks 1, 3, 5 & 7, though “Ghost” does have a two-sentence vocal track) and indie rock songs that sometimes verge on prog with uncommon time signatures and electronic instrumentation (the even-numbered tracks). Their arsenal of instruments includes not only the standard bank of keyboards, synthesizers, and drum machines, but also unexpected embellishments like glockenspiel, steel drums, and African percussion instruments. These small touches make their music stand apart from the hordes of other electronica/rock acts. On “Ghost” (#1), we first hear a herky-jerky rhythm of odd bells, electronic percussive noises, and analog African-sounding percussion sounds before settling into a more recognizable song rhythm of synths and drums punctuated by occasional glockenspiel. Likewise, glockenspiel differentiates “Horseshoes and Hand Greandes” (#5) from most prog-ish electronica. On some pieces, the drumming patterns seem almost tribal, most noticeable on the closing “Nonante-Trois” (#8). The lyrics betray a feeling of alienation: On “Ghost” they observe, “Are there no roots or is there just nothing to cling to/Liberty is a ghost who hasn’t severed his shadow.” The music, meanwhile, in combining modern machines and ancient tribal artifacts, bridges that gap. Paul Borelli 3/7/07
Tal Bergman & Ron DeJesus / Grooove, Vol. 1 (self-released) Electronic
Their promoter bills them as down-tempo electronica, and while they do make use of electronic instruments, that’s only one aspect of their sound. In fact, the opening track, “The Hint” (#1), will more likely remind you of the Average White Band with its rock-solid, in-the-groove drums & bass, accompanied by one-note funk guitar and Jan Hammer-style synthesizer. A similar formula is followed on “Step on It” (#6), though with more guitar soloing and Hammond-style organ. And judging from the CD title, the groove is where the emphasis is, but Bergman (of MC Solaar) & DeJesus aren’t content to keep things in the groove, unfortunately. Tracks like “The Underhill” (#2), “Nice Thong” (#3), “11:59” (#5), and “The 3 Hole Club” (#7) veer off into some combination of instrumental rock, electronica, and new age/smooth jazz that keeps this disc from being an unqualified success. Prince keyboardist Renato Neto contributes on tracks 1, 2 & 4. “Leave It Right There” (#4), though it starts off with a dreamy backmasked guitar segment, eventually settles into a groove and keeps it going for over 7 minutes, with Neto soloing on clavinet and DeJesus opting for heavily chorused, John Scofield-esque guitar effects. Herbie Hancock and others have proven that space-funk can be artistic and successful. Here’s hoping that Bergman & DeJesus jettison the other elements of their sound and stick to the far-out funk.
Paul Borelli 11/4/07
The Besnard Lakes / ...Are the Dark Horse (Jagjaguwar) Rock
If the religious right is really intent on saving the institution of marriage, they should look to the world of indie rock for examples of the benefits of wedded bliss. Case in point—the Besnard Lakes, led by the husband-and-wife team of Jace Lasek and Olga Goreas. Like Viva Voce (the Portland-based husband-and-wife team of Kevin & Anita Robinson), the Besnard Lakes employ withering sarcasm in savaging such affronts to the intelligence as the commercial radio airplay game (“Devastation,” Track 4) and the state of culture in the big city (“On Bedford and Grand,” #7). But the Besnard Lakes arm themselves with different sonic weapons—cavernous reverb on all vocals, instrumentation that runs the gamut from the orchestral to heavy electric guitar, and Lasek’s falsetto, which has drawn apt comparisons to post-Pet Sounds Beach Boys (“Disaster,” #1 & “For Agent 13,” #2). And they spin interesting yarns, such as the former secret agent whose dark past is only discovered by the singer after he or she has joined a band (“And You Lied to Me,” #3). That’s a pretty fantastic combination—sarcasm, great vocals, rich, dense arrangements and instrumentation, song-writing that bounces from dark, complex suites to pop melodies and back (see in particular “Rides the Rails,” #6). And just the sort of richness that will forever keep them from becoming widely popular, destined always to be the dark horse. Paul Borelli 2/23/07
Bishop Allen / The Broken String (Dead Oceans) Indie
The sophomore effort by the Brooklyn-based duo Justin Rice and Christian Rudder with a host of collaborators comes on the heels of their well-publicized EP-a-month project of last year and has them reworking 10 of those tunes with 2 new ones on an album noteworthy for its intelligent lyrics, interesting arrangements, and pure pop melodies. The song-writing is Spoon-like in that it combines classic-sounding melodies with highly original words, but these melodies are not angular and jagged, rather pristinely pure with vocals more fragile and less polished, leaving the singer bare and vulnerable rather than hiding behind a crafted image. “Monitor” (#1) begins with a slow, faint fade in (you won’t hear anything for nearly 17 seconds) and gradually builds to a crescendo of echoing guitar, pounding drums, piano, and backing chorus on a song that draws the unlikely comparison between the iron-clad battleships of the American Civil War and playing in a rock n roll band. “Rain” (#2) is an insistent, infectious, up-tempo pop gem about watching the rain and the conclusion that “if it’s ever going to get any better, it’s got to get worse for a day.” “Click, Click, Click, Click” (#3) begins with a picked pattern on acoustic guitar, again slowly building to a fully orchestrated pop song that muses about a possible future breakup and how strange photos of the past will seem then. “Like Castanets” (#6) describes a trip “along the coffee trail” where every event has some kinds of sound “like castanets.” “News From Your Bed” (#12) has Brian Wilson written all over it. The darker-themed “Corazon” (#9) and “Choose Again” (#11) are also worthy of repeated listens. At the risk of punning badly, you might call this Bishop Allen’s ordination.
Paul Borelli 7/14/07
Bitter Funeral Beer Band / Live in Frankfurt 82 (Country & Eastern) World
The Bitter Funeral Beer Band was formed by Country & Eastern head honcho Bengt Berger after he returned to Sweden from his mid 70s stay in Ghana, where he became ensconced in and enamored by native funeral music. The group, which released only 2 albums in the few years of its existence, combined this African funeral music with jazz improvisation and their own Nordic sensibilities for what could be described as free world jazz. They are joined on these live recordings from the 18th German Jazz Festival by free-jazz giant Don Cherry on his trademark pocket trumpet. The first two tracks, “Darafo” (#1) and “Chetu” (#2), live up to the previous description in their free-flowing improvisation with solos by Cherry on each, as well as Matthias Hellden on cello (#1) and Sigge Krantz on electric guitar (#2). “Bitter Funeral Beer” (#3) takes a more eastern direction with K. Sridhar opening the piece on sarod and maintaining the mood throughout. Anita Livstrand adds some wailing vocals to enhance the funereal effect. The 29-minute “Funeral Dance” (#4) is a rolling juggernaut with numerous soloists entering and exiting the fray. The closer, “Gahu” (#5) is the shortest piece, a fast-paced, clap-inducing percussion fest that features Berger on the atsimevu, an African lead drum, and the rest of the group on various other percussion instruments. This is world music for the true enthusiast, not the dilettante looking for a radio hit.
Paul Borelli 12/13/07
Black Moth Super Rainbow / Dandelion Gum (Graveface) Indie
Pittsburgh’s Black Moth Super Rainbow continue to ply their trade of psychedelic indie pop electronica, a sound that balances the opposites of vintage electronics (think of the mellotron that begins the Beatles’ “Strawberry Fields Forever”) with robot-like vocals sung through a vocoder, and a hippy/trippy aesthetic that also includes modern beats and indie sensibility. It all adds up to a hazy, comfortable trip through a strange land, a veritable Magical Mystery Tour (though without being bothered by all those words, like on the Beatles album). There’s also supposedly a backstory about a witch living in a forest and this collection of songs being like fairytales. But with or without this backdrop, the music stands on its own as a beautiful intoxicating dream. Favorite tracks include the Beatle-esque “Melt Me” (#3), the Mellotron-happy steady groove of “Sun Lips” (#6), and “Drippy Eye” (#12) with its hip-hop-inspired beat and building, multiple, simple synth melody fragments. The end of track 16 (“Untitled Roadside Demo”) contains about 50 seconds of silence, and there is an untitled track 17 with a simple beat, some acoustic guitar, and noisy electronics. Dandelion Gum brings together the past and future, the organic and artificial. In other words, it’s the best of both worlds.
Paul Borelli 5/19/07
Black Mountain / In the Future (Jagjaguwar) Prog Rock
The sophomore disc by Vancouver’s Black Mountain is generating massive buzz because of its mastery of classic prog rock sonics and mood and because of the huge leap it represents from the group’s debut three years ago. Think Black Sabbath heavy riffs and Deep Purple keyboards with Rush lyrics delivered by Marty Balin and Grace Slick and occasional forays into Renaissance-inspired folk and you’ve got an idea of the witches brew here. And witches play heavily here, along with demons, tyrants, queens, and tracking hounds. “Stormy High” begins the journey apropos of its title with galloping rock and wailing backing vocals. “Angels” (#2) fuses backbeat with languid delivery from vocalist Stephen McBean and the sweep of synthesized strings. “Tyrants” begins all sound and fury but over its 8 minutes it wanes and waxes from vocals & toms to full throttle prog and back to acoustic guitar and mellotron. “Wucan” (#4) bewitches with sinuous keyboards & echoing vocals giving way to heavy fuzz guitar & plastic, proggy synths. “Stay Free” (#5) flies the freak folk flag with acoustic guitar & tambourine and McBean singing in falsetto. “Evil Ways” (#7) is a tale of sorcery with fuzz bass, pounding toms, organ & heavy guitar. “Wild Wind” (#8) has a little T. Rex in its slowly rolling beat, classic rock melody, and a backing choir thrown in for good measure. The nearly 17-minute “Bright Lights” (#9) is obviously a multifaceted suite with a laundry list of alliteration featuring the letter “H.” Neo-prog has made a resurgence the last couple of years and this tour de force shows that Black Mountain is fittingly at the top of the heap.
Paul Borelli 1/31/08
Blonde Redhead / 23 (4AD) Indie
The seventh full-length from this New York-based trio finds them drawing fewer comparisons to Sonic Youth, as they did in their early work, and more parallels to My Bloody Valentine and fellow New Yorkers Asobi Seksu. Over a dense wall of sound that is at the same time atmospheric and spacey, the band layers mostly driving pop rock rhythms and traditionally structured melodies. “Spring and by Summer Fall” (#5) is the most driving, radio-friendly song, in which the singer questions himself about his life. “Dr. Strangeluv” (#2) follows this pattern with a less insistent rhythm track. “Silently” (#6) combines a disco beat, Motown girl group vocals, and the dreamy backdrop of the Cocteau Twins. “The Dress” (#3) features whispered vocals, an ominous minor-key melody, and lyrics about love’s betrayal and disillusion. The last few tracks on the disc seem to emphasize the electronic sound effects more than earlier numbers; for example, “Heroine” (#8) uses vocoder vocals and an ending of flute-like mellotron and bird-like noises. “My Impure Hair” (#10) closes the album on a slower, almost lilting note with swooping, spacey sound effects in a song about the contradictions and things lost in the midst of love. The overall effect of the album is that love lures us in with attractive, addictive, dreamy melodies that often turn dark and lead to betrayal, disappointment, and loss. But like the music on 23, there’s something narcotic about it that keeps drawing us back for more.
Paul Borelli 5/26/07
Bonde Do Rolé / With Lasers (Domino) Brazilian
The three members of Bonde Do Rolê met in Curitiba, Brazil at the local snack bar (named Role’s Bar), which played heavy rock, and decided to create baile funk music, a style developed in Rio’s favelas that emphasizes playfulness and a mash-up sensibility in a punked-up spin-off of Miami Bass. In other words, this is no-holds-barred party music with an insistent electro-funk beat, occasional heavy metal guitar (tracks 1, 3, 12), and a vocal style somewhere between rap and cheerleading. The lyrics can also be reputedly “filthy,” but since they are sung, or more accurately delivered, in Brazilian Portuguese, who can tell? The opening “Danca do Zumbi” begins with a demonically processed English male voice warning the listener that the group has brought a sound from hell that will bring “death to your speakers,” then vocalist Marina begins her chant. “Solta O Frango” (#2) has a sing-song cadence and a sneezing keyboard line. “James Bonde” (#3) uses a Peter Gunn-like heavy rock riff on a song about 007. “Tieta” (#4) has a lighter, almost tropical guitar and rhythm foundation with vocals delivered by one of the two males in the group. “Office Boy” (#5) is more power pop, with lots of ba-ba-ba-ba-ba. “Marina do Bairro” (#6), “Caminho de Gas” (#9), and “Quero te Amar” (#11) rely on electro-funk synths, the latter also employing vocoder on Marina’s vocals. “Geremia” (#10) mixes something that sounds like an electric kazoo with marching snare and bass drums. Again, because everything is spoken in Brazilian, it’s impossible to know what is being said, but the young, flippant, trashy fun of this music shines through on every track, making this a perfect soundtrack for summer.
Paul Borelli 6/30/07
Boom Bip / Sacchrilege (Lex) Electronic
Boom Bip is the stage name of Cincinnati’s Bryan Hollon, who established his reputation as a hip-hop artist and DJ over the past 5 years recording for Mush and Lex, collaborating with rapper Doseone, and remixing for Four Tet and Jamie Lidell. This 5-song EP finds him venturing into mostly instrumental 80s synth pop (Ali Lee provides spoken vocals on track 3) a la Giorgio Moroder, but with more current beats. “Snook Adis” (#1) begins the disc with 80s vintage synths and beats but periodically veers into unexpected anti-melodies before resuming the regular pop beat. “Rat Tail” (#2) has a little funkier beat, dirtier bass line, and sampled vocal “yo”’s interjected here and there. “The Pinks” (#4) starts out all drums and snyth percussion, adds cowbell and synth bass before bringing in the airy synth melody. From there, it’s pretty standard club fare. “One of Eleven” (#5) begins with heavy, up-tempo electronic bass and beats, gradually adding layers of electronic melody lines and slow, repetitive chord progressions. The middle section turns down the bass, adding more random-sounding electronic effects. Then the dance track resumes with different synth flavors repeating the descending chord progression. Overall, very listenable if not entirely novel electronic dance music.
Paul Borelli 7/14/07
Bowerbirds / Hymns for a Dark Horse (Burly Time) Indie
On their debut album this Raleigh, NC trio play stripped down acoustic indie-folk, laden with natural imagery. Each melody seems to fit itself to lead singer Phillip Moore’s sylphic and winding lyrics. Using guitar, accordion, bass drum, violin, and synth, the band builds charming and engaging folk tales that could be sung by a neighbor on he back porch or by an undine. Listen to the raucous folk-choir build of “In Our Talons” (#2, 3:53), or try the enchanting, slow melodic spiral of “Bur Oak” (#5, 5:00). Don’t miss the romantic “Slow Down” (#8, 3:53).
Leah Manners 11/4/07
Bobby Bradford / Midnight Pacific Airwaves (Entropy) (new review)Jazz
A disc by trumpet man Bobby Bradford is always a treat (and he has recorded so few). Most of his appearances have been as a sideman with Ornette Coleman (including live performances in Austin decades ago), John Carter, or John Stevens. Bradford actually plays cornet here. Joining him on this live recording from 1977 are flautist James Newton and two unknowns: Richard Rehwald (bass) and John Goldsmith (drums).
The CD gets off to a great start with “Comin’ On,” (1) an inspired performance which owes much to the music of Ornette Coleman. Bradford’s solo is followed by Newton’s, and both are excellent. The rhythm section lays down a steady pulse for them, and then proceeds without cornet and flute until the piece is wrapped up. The longest track, “She” (2) doesn’t come off as well despite some good playing. “Blue Monk” (3) is a disappointment. “Improvisation #12” (4) is a sparkling gem of pure improv. The second “She” (5) is a lackluster Bradford duet with Vinny Golia on clarinet from 2003.
Note: The track listing on the CD is odd. Track 4 (which begins with 12” of silence) is listed before track 3. The actual track numbers are correct, but not the sequence of titles.
Rick Kendrick 1/9/09
Brave Combo / Polka's Revenge (Dentone) World
Brave Combo has clocked 27 years in its mission to revive polka for the modern masses. This Texas group have made the accordion so hip again that Matt Groening invited Brave Combo (one of his favorite bands) to perform on The Simpsons, an obvious choice for the episode in which Oktoberfest comes to Springfield. Along the way, this powerhouse polka outfit even scored a couple Grammy’s. For Polka’s Revenge, Brave Combo penned a handful of originals, including (#7) “The Denton Polka,” a song commissioned by the group’s hometown for its sesquicentennial, and (#2) “At the Polkafest,” a good example of their ability to incorporate vocals, the song’s lyrics a kind of manifesto for the oft-maligned nu-polka scene. But most of the album resulted from a musicological expedition into polka’s past: (#4) “Stan Blout Medley” melds the vintage hits of the Slovenian-styled legend, while (#6) “Lovers on Public Benches” revisits a 1950s French popular waltz (and makes the accordion sound as sultry as any saxophone). But most likely, you’ll be skipping ahead to hear what happens when polka collides with The Who on (#11) “I Can See for Miles.”
Sheila Scoville 9/5/07
The Breakup Society / James at 35 (Get Hip) Pop
The Breakup Society (Phoenix, AZ) offer up some tasty power pop on James at 35, their first full-length. Mixing 60s melodies with 70s sonic guitars, and the intelligent, sympathetic lyrics of lead man (and songwriter) Ed Masley, the band breaks no new ground, but the result is still pleasing to the ears. The first half of the CD (which I prefer) is filled with up-tempo blasts of sonic pop, while the pace slows down a bit in the second half. Recommended cuts: 1, 2, 3, 4, 6, 10, and 15.
Scott Gardner 5/12/07
Jonatha Brooke / The Works (Bad Dog) Folk
Jonatha is the first woman invited into the Woody Guthrie archives to take previously unreleased lyrics and compose music to complement them. She has done a lovely job and Woody’s tracks display a surprising side (to me, anyway) revealing an intimate, sometimes feminist, man wracked by insecurity and delight in equal measure. It is refreshing to listen to a Jonatha album that is less intensely self-reflective & her music is more accessible and not based on her usual odd-ball tunings and chord progressions. "My Sweet and Bitter Bowl" (#1) has a haunting sound of a traditional Appalachian tune. "You’d Oughta Be Satisfied Now" (#2) is pure blues. "All You Gotta Do is Touch Me" (#3) features Keb Mo on vocals and wooden dobro - sultry & catchy. Her two originals ["Little Bird" (#9) & "Taste of Danger" (#10)] are ok but the Guthrie-Brooke songwriting combination produces the magic on this CD. You really can’t go wrong listening to/playing any of them.
SJ Williams 10/08
Marc Broussard / S.O.S.: Save Our Soul (Vanguard) Soul
The agenda for this fourth album from the son of Boogie Kings guitarist Ted Broussard is patently obvious from the title—bring back the classic soul sound of the 60s and 70s. Fortunately for us, Broussard has the voice to do just that, channeling at times Otis Redding, Marvin Gaye, and Al Green while backed by a host of players led by multi-instrumentalist Calvin Turner with arrangements that sound as classic as the material. And kudos to Broussard for starting the album with a quintet of obscure covers before cementing his bonafides with signature pieces by Gaye (#6), Green (#7), Redding (#8), the Staple Singers (#9), and the Pointer Sisters (#10). The closing “Come in From the Cold” (#11) penned by Broussard, producer Justin Tocket, and Radney Foster, doesn’t quite match the quality of the classics, and Broussard’s performances throughout, though certainly solid, don’t add anything new to the soul canon. So one could argue that Broussard doesn’t really achieve his objective here, though one could ask whether soul music really needed to be saved in the first place. But he has demonstrated that he has the voice to continue the tradition, if only he could find the songwriters to produce new material to match his talent.
Paul Borelli 6/30/07
Ari Brown / Live at the Green Mill (Delmark) Jazz
After starting his musical career as a pianist, Ari Brown began playing saxophone in 1965 and joined the Association for the Advancement of Creative Musicians in 1971. He’s also played with the likes of McCoy Tyner, Anthony Braxton, and Lou Rawls, to name but a few. But despite his long and distinguished career, this is only his third release as a leader. These live recordings of Brown originals from June of this year show the muscular Chicago hornman striking a consistently delicate balance between the creative improvisation from his AACM heritage and the more formal structures of post-bop and modal jazz, much like the work of Wayne Shorter, whom he honors on “Shorter’s Vibes” (#7), and Rahsaan Roland Kirk, whom he emulates by playing tenor and soprano simultaneously on the dedication to his wife, “Two Gun V” (#4). “Richard’s Tune” (#1) will definitely call to mind the classic 60s Blue Note sessions from any number of that label’s roster, though liner note author Michael Jackson of Downbeat specifically mentions the early work of Herbie Hancock. The closer, “Evod” (#6), has the feel of Miles’ modal period, just before the dawn of fusion, with a propulsive funky soul rhythm and melody-stretching ensemble horn lines. Brown blows mellow and melancholy on the ballad “One for Skip” (#2), named for a friend who ended his own life too soon. And on “Kylie’s Lullaby” (#5) he switches to flute, while brother Kirk on piano and trumpeter Pharez Whitted turn in fine solos as well. Soothing or spicy, Brown delivers some from both barrels on this solid outing. Folks outside Chicago deserve to hear more from this too modest artist.
Paul Borelli 1/03/08
Bob Brozman Orchestra / Lumiere (Riverboat) World
String-picker extraordinaire and world music collaborator Bob Brozman has traveled the globe both musically and physically and this collection of instrumental compositions reflects that roving character in spot-lighting particular styles from different locales played on a variety of exotic instruments. As the cover photo implies, the music is mostly composed of Brozman playing various stringed instruments accompanied only by percussion and, on one track only, bass. He covers tango (#1), island music of the Indian and Pacific Oceans (#2, 4), calypso (#5), Venezuelan mazurka (#7), Hawaiian (#8), African blues (#9), and oriental (#12) music. On other tracks he blends different styles, such as on “Afro Mada” (#11), which traces a route from East African to India. In fact, while each piece is expertly executed, the one complaint is that mixing many cultural flavors together results in a droning sameness across the disc as a whole, producing a single indistinguishable sound rather than the individual characteristics of each style. It’s as if someone had taken distinct dishes from different parts of the world and thrown them all together in a blender—the defining flavors are lost. I rather prefer my musical fare in purer form; thus, the tracks listed above that bear a more distinct character will prove the most satisfying.
Paul Borelli 7/14/07
Jimmy Burns / Live at B.L.U.E.S. (Delmark) Blues
On this fourth release for Delmark, and his first live album, guitarist/vocalist Jimmy Burns performs with a high level of competency for a musician who put the brakes on his own musical career to raise his family. Now a fixture in Chicago’s Westside venues, Burns is making his name again. While Burns’ playing is not forwarding any new innovations for blues, there is plenty to applaud, especially Burns’ musical reliability. Definitely inspired by the blues legends of Chicago’s 50s scene, Burns literally plays like a man recapturing lost dreams. Recommended tracks: #2, 5.
Paul Feinstein 3/24/07
Buck 65 / Situation (Strange Famous) Hip-Hop
The ninth release from Nova Scotia native Richard Terfry, this disc is a concept album examining the cultural collision of 1957—conservatism meets anarchy/the underground, science fiction hails the space age under the threat of nuclear annihilation—through the eyes of a gallery of fictionalized characters whose ideas and pronouncements resonate with the issues of today. Terfry shuns the usual rap stereotypes, while retaining its driving beat and shotgun spray of verbiage, to create a thinking man’s version of the genre that normally aims for the lowest common denominator. “1957” (#2) is the overture of sorts, summing up the year under examination. “Lipstick” (#4) describes a Bettie Page character, promoting uninhibited sex in an age of prudishness, whereas “Shutter Buggin’” (#5) tells the same story from the other side of the camera. “Spread ‘Em” (#6) portrays a Dragnet-style drug bust while showing the police mentality of treating a simple drug offense as if it were a terrorist threat, while “Heatwave” (#14) could easily be taken as a tale about a modern-day border vigilante. “Mr. Nobody” (#11) paints a portrait of the invisible loser, wife-less, car-less, sex-less, avid record collector, while “The Rebel” (#12) describes the black-leather-clad James Dean stereotype. Among the hardest-hitting tracks sonically are the bass-heavy “Cop Shades” (#9) and the drum-riffing “Benz.” (#13), which features secondary vocals from Cadence Weapon. As other reviewers have noted, Situation reads like a 50s noir cop film, perhaps from the pen of James Cain. Sounds pretty good to me.
Paul Borelli 11/4/07
The Bummkinn Band / Rockin' the Yee-Haw (self-released) Country
Although this CD will be filed in the country music section, it is an adorable, fun set of songs to be enjoyed by kids, adults, and all music fans. The overall sound is traditional country, but just check out the topics that the self-penned tunes are all about…Root Beer, boo-boos, dogs, ferris wheels, catching cold, ice cream, ants & mama.
There is great musicianship on all of the tracks, with an emphasis on country instruments such as fiddles, & steel guitars. Special kudos go to Kimber Breaux who wrote the lyrics and doew the lead vocals. Not a bad song in the bunch, it’s tough to single out the best tracks, but these are my personal picks: (#12) I Want a Wagon Full of Roses, (#8) You Broke My Heart on the Swingset, (#6) Texas Sized Boo Boo, (#11) I Dropped My Ice Cream on the Ground, and the aptly titled, (#9) Perfect Kid’s Song.
If a music programmer is looking for some fun spirited novelties, just play any of the above tracks.
Len Brown 7/08
