WFHB Music - Bloomington Community Radio: August 2005

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Monday, August 29

new int'l discs for 8/29

artist: Moira Smiley
title: Rua
file under: int’l / LOTUS 2005
grade: A- / B+
An even split between traditional tunes and originals from Celtic / Appalachian singer Moira Smiley, whose voice commands attention. Think Carrie Newcomer weaned on The Chieftans.
reviewer: bjorn ingvoldstad

artist: Lura
title: Di korpu ku alma
file under: int’l / LOTUS 2005
grade: A-
Lura uses arrangements by Fernando Andrade, the linchpin of Césaria Evora's band, on her third album. But in spite of that, it's apparent that Lura isn't in the same class as her Cape Verdean colleague. When she works in the rootsy batuco style she's generally safe, even if she gets a little histrionic at times. However, when she moves toward the ballads (generally keeping clear of Evora's trademark mornas) it all falls apart. Much of the fault lies with the material, rather than Lura's voice, although she never manages to achieve any kind of delicate sensuality in her singing. And the songs themselves are at best second-rate, redolent of cheap cabaret. Even Andrade's arrangements can't save them, although he does a sterling job of trying. At her best Lura can be good. But at least on the basis of this, she'll never manage to be outstanding. (3 ½ stars)
reviewer: Chris Nickson, All Music Guide

artist: Frigg
title: Oasis
file under: int’l / LOTUS 2005
grade: A-
Sophomore release from Finnish-Norwegian folksters will do you right. Think Väsen. Better yet, think Harv without nearly as much drinking. Instrumental wooden music led with fiddle, but with guitar holding it down. Even the occasional horn (01), or even bagpipes (06). Though there are some mellow tracks, Frigg are best at full-speed. You heard it here first: the dance floor will be filled by the end of their opening number.
reviewer: bjorn ingvoldstad

artist: Seu Jorge
title: Cru / Brazilian renaissance man / LOTUS 2005
file under: int’l
grade: A-
There is a reason that Brazilian singer/actor Seu Jorge regularly sells out live shows: he not only has a charming way with acoustic renditions of classic David Bowie songs (as proved last year in The Life Aquatic; those who missed it should check the soundtrack), he exhibits as much charm when playing his own material. Cru, which translates as "Raw," is a fine example. Not every song is original — Jorge covers the Leiber & Stoller classic "Don't" (06), made famous by Elvis Presley, as well as Serge Gainsbourg's "Chatterton" (03) — but he maintains a consistently stripped-bare sensibility throughout. Sun-baked vocals drive the sound, backed by barely-there acoustic guitar strumming and spare, casual percussion and effective use of electronic beats. "Mania de Peitão" (11) offers a Spanish-language lesson on the evils of silicone breast implants, and "Eu Sou Favela" (10) recounts, via music entirely too gorgeous for its subject matter, the grim realities of a Brazilian slum. (3 ½ stars)
reviewer: Tammy La Gorce, All Music Guide

artist: Ana Moura
title: Guarda-me a vida na mão
file under: int’l / Portuguese fado / LOTUS 2005
grade: A-
If you enjoyed Mariza’s recent Transparente or last year’s Rough Guide to Fado compilation, Ana Moura is up your alley. If those aforementioned titles are drawing a blank, welcome to wonderful world of fado: Romantic, emotional performances by a Portuguese female singer who demands attention. This is engaging, sit-down material.
reviewer: bjorn ingvoldstad

artist: Balkan Beat Box
title: Balkan Beat Box
file under: int’l / Balkan-Jewish Zucoesque-apade / LOTUS 2005
grade: A-
The opener “Cha Cha” (01) sets the table, sampling PA announcers, vinyl scratches, James Brown, and a rooster. Oh, and don’t forget the eponymous Balkan horns and beat box. And some ladies stuttering “Ch-ch-ch-cha-cha!” From here, the next three cuts are in Bulgarian, Hebrew, and 9/4 time. Butt-waving, sweat-inducing. Dancing shall ensue.
reviewer: bjorn ingvoldstad

artist: Tito Puente
title: The Rough Guide to Tito Puente
file under: int’l / Latin
grade: A-
Following up on this spring’s Celia Cruz compilation, as well as The Rough Guide to Mambo, WMN offers up a generous 21-track set that provides a cross-section of three decades’ worth of work from Tito Puente. I’m no Puentologist, so I’m drawn to “Oye Como Va” (18) like the moth to the proverbial flame, but there’s a lot more here for you to check out and enjoy. Radio-friendly day or night, mis amigos.
reviewer: bjorn ingvoldstad

artist: v / a
title: The Rough Guide to the Music of Brazil: Rio De Janeiro
file under: int’l
grade: B+
Cutting down the usual mass of music contained in any given Brazilian compilation, and following the more regional focus of the Bahia Rough Guide, this album covers the more urban music of Brazil — the samba, bossa nova, carioco, and so on. Some electronic samba (01) opens the album, followed quickly by a rendition of a classic Gilberto Gil piece (02). Fusions of samba with electronica, bossa nova with funk, and MPB with soul and jazz make themselves heard here. The classic compositions of Jobim (12), Powell (11), and others also find their way in simultaneously. Some of the most interesting stuff here is the least standard for the area. Ed Motta (09) sounds like an old Michael Jackson dance record, Beth Carvalho (06) enhances an old piece with notions of "Over the Rainbow." The sounds aren't as contemporary as one might expect given the massive life in Rio currently, but there are some interesting pieces here that make a decent cross-stylistic set. (3 stars)
reviewer: Adam Greenberg, All Music Guide

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Friday, August 26

New WFHB Add Pool Reviews for August 22

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DATE: 8.22.05
ARTIST: James McMurtry
TITLE: Childish Things (Compadre)
GENRE: COUNTRY/ALT
GRADE: A+
REVIEW: Musical tumbleweed McMurtry just gets better with age. Always the wise curmudgeon, he is always noted by critics for his observational story-songs of true grit, dished out with sly humor and wordplay. What the crits sometimes forget is that he has also been working with the same fine rhythm section for many years and that his guitar leads snake through the songs with wicked verve. James is not a happy camper with the state of the world today, and he'll tell ya all about it while his engaging music keeps your attention.
REVIEWER: Jim Manion/WFHB

DATE: 8.22.05
ARTIST: Cowboy Junkies
TITLE: Early 21st Century Blues (Zoe)
GENRE: ROCK/MAINSTREAM
GRADE: B+
REVIEW: From the most laid-back band in Canada comes an unlikely, but sadly timely, concept album, in which the Timmins family turn their hand to songs of "war, violence, fear, greed, ignorance and loss". There is everything here from traditional songs through to lesser-known pieces from the likes of U2, Dylan and Springsteen, and a couple of strong new songs by Michael Timmins. It's an intriguing idea, but much of the album is merely classy and respectful. Margo Timmins has a quietly sturdy, breathy voice, but when it comes to covering songs such as Springsteen's Brothers Under the Bridge, she doesn't have the same emotional range, and she certainly can't compete with Bono's treatment of the optimistic finale, One. Still, there are some impressive sections. There's a welcome revival of Dylan's Licence to Kill, from the mid-1980s, a strangely successful soporific treatment of the old slave lament No More, and a genuinely original treatment of Lennon's Don't Want to Be a Soldier. Now dressed up with a drum loop, bass riff and even a burst of rapping, it shows that the Junkies can still surprise.
REVIEWER: guardian.co.uk

DATE: 8.22.05
ARTIST: Pieta Brown
TITLE: In The Cool (Valley)
GENRE: FOLK/SS
GRADE: A-
REVIEW: Recorded live at Ardent Studios in Memphis, In the Cool, is a collection of deep-grooved songs rooted in a visionary outpost where blues, country, folk and rudimental rock converge. Lyrically and musically poetic, Brown’s deceptive simplicity and seductive purity create songs that meet definitively somewhere between the Carter Family and Tom Waits. On In the Cool, Brown delves in to the age-old subjects of love and loss, with traces of addiction and flashes of feverish edge, realizing an accessible yet fresh and singular voice. Co-produced by Pieta and guitarist Bo Ramsey (Greg Brown, Lucinda Williams), the album features an all-star lineup including bassist Dave Jacques (John Prine), keyboardist Kevin McKendree (Delbert McClinton, Etta James) and drummer Bryan Owings (Buddy & Julie Miller, Shelby Lynne). Iris Dement and Greg Brown also make appearances. Being the eldest daughter of Grammy-nominated singer-songwriter Greg Brown, Pieta has music in her blood. With In the Cool, Pieta proves not only her prolific tendencies, but her apparent dedication to a deep tradition of highly crafted song-writing and musicianship.
REVIEWER: angrycountry.com

DATE: 8.22.05
ARTIST: Tim O'Brien
TITLE: Cornbread Nation (Sugar Hill)
GENRE: FOLK/BLUEGRASS/COUNTRY
GRADE: A
REVIEW:Here's one of two new albums by folk icon Tim O'Brien. Fiddler's Green is the more Irish of the two discs, but Cornbread Nation reveals that the connection between Ireland and the American South is firmly entrenched within the music. On the latter, O'Brien's vocals occasionally come across as the Americana equivalent to jazz artist Leon Redbone. Tyminski is along for the ride again on a traditional version of "House of the Risin' Sun," along with Jerry Douglas. The title track, "Cornbread Nation," is cross between Randy Travis and Steve Earle vocally. "Moses" is a long tune based on Negro spirituals, and "California Blues" is O'Brien's take on a Jimmie Rodgers song. The disc is filled with pictures of the Old South, with tunes like "Walkin' Boss," "Boat Up the River," which somehow evokes Huck Finn, and "When This World Comes to an End."
REVIEWER: phantomtollbooth.org

DATE: 8.22.05
ARTIST: Laura Viers
TITLE: Year of Meteors (Nonesuch)
GENRE: ROCK/ALT/SS
GRADE: A+
REVIEW:The follow-up to last year's acclaimed Carbon Glacier finds Laura Veirs in an expansive mood. The Seattle songstress has ventured a good way from her beginnings as a plaintive folk balladeer. Year of Meteors is a modern, fuller hybrid: the sparse, silvery fiddle of 'Magnetized' is imbued with a vivid urgency, while 'Black Gold Blues' flaunts a menacing electrified guitar. Mermaids, birds of prey and bees flutter in on Veirs's intimate vocal, which recalls the purified style of Suzanne Vega, albeit stiffened with a no-nonsense biting edge. Impeccably executed and absorbingly understated, this puts Veirs a cut above most interchangeable coffee-table troubadours.
REVIEWER: observer.guardian.co.uk

DATE: 8.22.05
ARTIST: Siegel-Schwall Band
TITLE: Flash Forward (Alligator)
GENRE: BLUES
GRADE: A+
REVIEW:With "Flash Forward," The Siegel-Schwall Band releases its first album of new studio recordings in 31 years. Despite the title, the band serves notice from the top that its Chicago blues sound and sense of humor both remain intact with the kickoff shout from Corky Siegel's harmonica and the line "If I don't tell you I love you, you should kick me in the shin." Highlights include "Afraid of Love," the song quoted above, written by Siegel and sung by drummer Sam Lay; Siegel's "Twisted," a first cousin to his 1970 classic "I Don't Want You to Be My Girl"; and Lay's "Going Back to Alabama," which injects country blues changes on the guitar into a full band setting. Guitarist Jim Schwall grabs his mandolin and hops in his Geo Metro for the Old-Timey romp "On the Road" and has some fun with a too-literal reading of the Bible in "Hey Leviticus." A not-so-subtle dig at George W. Bush, Schwall's down-and-dirty "The Underqualified Blues" recalls the band's "I Won't Hold My Breath" and "Out-a-Gas?" from the `70s and features perhaps the grungiest solo he's ever recorded. The album's real gem, however, is bass player Rollo Radford's surprising jazz song, "Pauline," which features perhaps the sweetest, most melodic playing Schwall has ever recorded. Fans of 1973's "953 West," in particular, should feel a warm vibe listening to "Flash Forward," but, really, any fan of Siegel-Schwall should rejoice at hearing this smart, fresh set of new songs.
REVIEWER: polyphonia.co.uk

DATE: 8.22.05
ARTIST: North Mississippi Allstars
TITLE: Electric Blue Watermelon (ATO)
GENRE: ROCK/MAINSTREAM/BLUES/JAM
GRADE: A-
REVIEW:The North Mississippi Allstars pay homage to their blues heroes on their fourth album, Electric Blue Watermelon, due September 6th. "In the Nineties, what just turned me around completely was getting to know Otha Turner, R.L. Burnside and Junior Kimbrough," Allstars singer/guitarist Luther Dickinson says. "I just learned so much from those guys. My father [Rolling Stones sideman/Replacements producer Jim Dickinson] couldn't believe that we were able to have that musical relationship. So the album's a nod to that multi-generational passing on of how blues becomes rock & roll." Turner died in 2003, at the age of ninety-four, but his lyrics live on through Electric Blue Watermelon. "After Otha passed, I really started writing for this record," Dickinson says. "I went through all these old tapes of him and me sitting on his front porch drinking moonshine, playing guitars and joking around. I transcribed the lyrics that Otha would improvise, and I organized them into three songs." For "Hurry Up Sunrise," which Turner's conceived of as a conversation between a man and a woman, the Allstars recruited Lucinda Williams to sing the female role. Musically, the Allstars -- brothers Luther and Cody (drums), and Chris Chew (bass) -- continue to lace their brand of blues with a rough rock & roll edge (witness the searing guitars on "Moonshine"), and Electric Blue Watermelon is often as eclectic as its name. The Dirty Dozen Brass Band offer a New Orleans-style funeral march as a coda to "Horseshoe," and fellow Southerner Al Kapone adds some menacing raps to "No Mo" and "Stompin' My Foot," which also features Robert Randolph on pedal steel guitar.
REVIEWER: rollingstone.com

DATE: 8.22.05
ARTIST: Holopaw
TITLE: Quit +/or Fight (Sub Pop)
GENRE: ROCK/ALT
GRADE: A
REVIEW:In 2003, Holopaw's self-titled debut prodded the overlap between vague electronic twitterings and scrappy folk tradition-- its follow-up, Quit +/or Fight, sees Holopaw striking a slightly more symbiotic medium, the line between their blips and strums now appropriately faded. Quit +/or Fight may lack the immediate melodic punch of the band's debut-- it forsakes pristine strums for skewering electric guitar and scrappier arrangements-- but what the record sacrifices in warmth, it makes up for in atmospherics. Holopaw's juxtapositions may be less striking now, but the results are more cohesive. Still, Quit takes a little extra time to settle into: Without being purposefully difficult, Quit +/or Fight can still be willfully (and successfully) obtuse, scrappy and determinably distanced from the shiny perfection of Holopaw. Opener "Losing Light" is all pause and thumping drums, punctuated by prickly guitar lines and overdubbed vocals. “Velveteen (All Is Bright.)" is painfully transformative and one of the band's strongest tracks to date. Unsurprisingly, Quit +/or Fight is also a breakup record, heavy with heartache and dark, belly-punching bits. Orth always had a photographer's sense of detail and light, and here, watching becomes an essential thematic reprise. In "Curious", a lover is shakily peered at from a clearing, and in "Losing Light", Orth's eyes turn to a sleeping body. Musically, the band stretches its muscle: "3-Shy-Clubs" funnels mysterious percussive smacks into a groove-heavy bossa nova rhythm, while "Curious" folds in bass clarinet and sinewy falsetto. The title track originally appeared as a FOUND Magazine (publisher of found notes, letters, photographs, and stories) song of the month, and features a mess of snagged lyric crumbs, cobbled together into a shockingly logical whole. Still, the track, which mixes tinkling bells with steel guitar caws and high, layered harmonies, has moments of chilly clarity: "You've done enough/ Quit and/or Fight," Orth implores. It's the perfect title for a band that demanded self-evolution, and got exactly what it wanted.
REVIEWER: pitchforkmedia.com

DATE: 8.22.05
ARTIST: Gogol Bordello
TITLE: Gypsy Punks (Side One Dummy)
GENRE: PUNK/GYPSY
GRADE: A+
REVIEW: With each release, Gogol Bordello further establish themselves as snubbers of assimilation, be it cultural or musical. Madman/vocalist/mustachioed visionary Eugene Hutz leads his brigade of border-smashing punkers on a mission to rescue world music from the bowels of academic beard-strokery. The band's sound remains unchanged: three-chord fury hopped up on Gypsy violin, accordion and two-step rhythms. Yet on tracks like "Not A Crime" and "Immigrant Punk"," the band expands their sound to include Clash-styled reggae riffs, dub sound effects and even a hint of Django Reinhardt. Regardless, the outcome is no less surly. Steve Albini, who plays field recorder rather than producer, superbly captures the contagious chaos laid out within the band's 15-point program for international cultural revolution. To the uninitiated, Gypsy Punks may sound like an ethnomusicological trainwreck, but it holds true as an anarchic goulash uniting the world's varying rebel music traditions.
REVIEWER: cmj.com

DATE: 8.22.05
ARTIST: Orenda Fink
TITLE: Invisible Ones (Saddle Creek)
GENRE: ROCK/ALT/SS
GRADE: A
REVIEW: Most people who look at the cover of Invisible Ones before listening to it will think Azure Ray’s Orenda Fink has completely lost her shit. The face paint, it turns out, concerns her recent spiritual quest to Haiti; her debut solo album, on the other hand, is the most accomplished collection she’s appeared on that’s not by Bright Eyes. Ranging from world beat experimentalism to grand, symphonic emotional electronica, Invisible Ones proves Fink is ready to join other out-in-front female mavericks like Tori Amos and Bjork. This inversely means that it sounds nothing like her Azure Ray running mate Maria Taylor’s fragile and pristine solo debut 11:11 released earlier this year. That record also sounded a lot like Azure Ray; Fink’s album succeeds mostly because it doesn’t. So take that for what you will. Who knew that could be such a compliment?
REVIEWER: harp.com

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Sunday, August 21

int'l genre adds for 8/22

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these five discs are in the air room NOW....

artist: Harv
title: Polka Raggioso
file under: int’l / Sweden
grade: A
Harv, those wacky Scandihoovian folksters that can drink all you lot under the table (see the insert for their 2002 Tost! disc if you don’t believe me) are back with a vengeance with Polka Raggioso. The squeezebox-fronting cover is a bit misleading, as their sound continues to be more string-led (with guitar and percussion underneath). More to the point is the back cover—is that a Ford Fairlaine that viola-clutching arm is protruding from? All tracks here are all wooden instrumentals—but beware! While the band is capable of downshifting on pretty tracks like “Tösen” (05) and “Hægsta” (06), they are as often going full-bore on cuts like the opener “Grythyttehyl” (01) and “Raggarvals” (03). Punk rock for ethnomusicologists. Harv kicks ass.
choice cuts: 01, 05, 07, 03, 02, 09
reviewer: bjorn ingvoldstad

artist: Milton Nascimento
title: Pietá
file under: int’l / Brazil
grade: A
Pietá, helmed by the late, great producer Tom Capone, actually came out in Brazil three years ago. It’s kind of a stylistic retrospective: some songs recall Nascimento’s spookily beautiful records of the early 1970s, mixing his painfully honest, wavering voice with Catholic Mass solemnity, advanced harmony and Beatlesque hook; others, with swelling, cinematic orchestral arrangements by Eumir Deodato, evoke the records he made for the American market in the late 1960s. A version of Herbie Hancock’s “Canteloupe Island” (11) with Hancock on piano, Pat Metheny on guitar, and Nascimento layering wordless vocals acknowledges his importance to jazz musicians. But “Pietá” (12), full of Capone’s fingerprints, is the most impressively original: it’s essentially 12-string guitar, orchestra, tape loops and surdo drums, with Nascimento chanting lyrics that match the drum rhythm…
choice cuts: 12, 04, 02, 01, 11
reviewer: Ben Ratliff, New York Times

artist: Ernest Ranglin
title: Surfin’
file under: reggae / instrumental jazz-ska swirlle
grade: A- / B+
Mix smooth jazz guitar with ska horns and irie rhythms: what do you get? 73-year-old Ernest Ranglin’s new disc, apparently. Ranglin was a session man at Studio One back when ska first went mega, and had a hand in such classic tracks as “My Boy Lollipop” and “Rivers of Babylon.” This is smooth going, but in a nice, end-of-the-summer way. You don’t normally hear this kind of guitar work on reggae releases—which isn’t necessarily a bad thing, but it certainly works here. Other than the must-avoid “Dancing Mood II” (10), all tracks are instrumental.
choice cuts: 01, 07, 12, 04, 02, 09
reviewer: bjorn ingvoldstad

artist: Gogol Bordello
title: Gypsy Punks
file under: int’l
grade: A
With each release, Gogol Bordello further establish themselves as snubbers of assimilation, be it cultural or musical. Madman/vocalist/ mustachioed visionary Eugene Hutz leads his brigade of border-smashing punkers on a mission to rescue world music from the bowels of academic beard-strokery. The band's sound remains unchanged: three-chord fury hopped up on Gypsy violin, accordion and two-step rhythms. Yet on tracks like "Not A Crime" (03) and "Immigrant Punk" (04), the band expands their sound to include Clash-styled reggae riffs, dub sound effects and even a hint of Django Reinhardt. Regardless, the outcome is no less surly. Steve Albini, who plays field recorder rather than producer, superbly captures the contagious chaos. To the uninitiated, Gypsy Punks may sound like an ethnomusicological trainwreck, but it holds true as an anarchic goulash uniting the world's varying rebel music traditions.
choice cuts: 03, 08, 04, 13, 11, 15
FCC ALERT: 01, 02, 05, 07, 10
reviewer: Matthew Field, CMJ

artist: v / a
title: The Rough Guide to Balkan Gypsies
file under: int’l
grade: A
On the heels of this year’s Shukar Collective release on offshoot Riverboat, WMN rolls out a Roma Rough Guide compilation. A lot of big names here, doing what they do best: Markovic’s brass band (03), Papasov’s claranet (04) are choice in this regard. While there aren’t a whole lot of surprises, you can’t help but sit up and notice the collaboration between Markovic and violinist Felix Lajko (12). Certainly not the last word on Balkan Roma tunes, but a welcome reminder / primer. Lots to choose from!
vocal cuts: 04, 06, 16, 10, 07
instrumentals: 12, 03, 11, 01, 15
see also: Shukar Collective, Urban Gypsy
v / a, The Rough Guide to the Music of the Balkans
reviewer: bjorn ingvoldstad

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Friday, August 19

Add Pool CDs for this week

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DATE: 8/18/05
ARTIST:Bliss
TITLE: Quiet Letters (Quango)
GENRE: ELECTRONIC/DOWNTEMPO/CHILLOUT/WORLD FUSION
GRADE: A
REVIEW: If you liked the WorldBeat sounds of Massive Attack, this is going to be an album you are going to enjoy – a haunting chillout album by Scandinavian quartet, Bliss. The album has a lot of eastern flavors garnishing an ethereal electronica sound. Its the kind of music you love on a cold foggy summer afternoon in San Francisco. So many goodies - like the haunting, sensual and seductive vocals by guest vocalist, Sophie Barker. North African and flamenco influences do spice-up this album. But the song of the album is Duniya. Ambient Music Guide calls it “an exceptionally polished blend of pop phrasing, ethereal electronics, Eastern flavours and neo-classical strings was bound to get noticed thanks to its surface.”
RECOMMENDED TRACKS: 2,5,7,9,10
REVIEWER: Om Malik tablatronic.com
NOTE: Sophie Barker is the singer in Zero 7

DATE: 8/18/05
ARTIST:Alvin Youngblood Hart
TITLE: Motivational Speaker (Tone Cool)
GENRE: BLUES (and more)
GRADE: A+
REVIEW:While he’s a master of old-time country blues, Alvin Youngblood Hart is no hard-core purist—the versatile guitarist plays everything from hillbilly laments to ’70s soul to cerebral jams. On the irresistible Motivational Speaker, he embraces heavy rock, drenching the songs with big riffs and joyously flashy solos that never seem excessive. Hart uncorks a soaring instrumental reminiscent of Hendrix at his jazziest on “Shootout on I-55,” launches a blazing electric boogie on “Big Mama’s Door (Might Return),” and detours to Nashville for a twangy cover of country outlaw Johnny Paycheck’s “Meanest Jukebox in Town.” And the eerie “When Can I Change My Clothes” is a masterpiece, with Hart imitating a graveyard spirit, his gritty voice a mixture of anguish and determination.
RECOMMENDED TRACKS: 2, 3, 5 (Doug Sahm cover), 8,
11 (Johnny Paycheck cover), 12, 13
REVIEWER: Jon Young motherjones.com

DATE:8/18/05
ARTIST:Jimmie Dale Gilmore
TITLE: Come On Back (Rounder)
GENRE: COUNTRY
GRADE: A
REVIEW:
Jimmie Dale Gilmore has crafted a gorgeous memorial for his father with "Come on Back." The album is an absolute gem that finds the Texan covering songs written by and/or made popular by such classic country titans as Johnny Cash, Ernest Tubb, Hank Snow and Ray Price. Gilmore's flexible singing voice, which always seemed somewhat out of step with this generation of country and folk stars, is a natural fit for this old-timey material. These songs, all of which were passed on to Gilmore from his Fender-playing father, are obviously very important to the artist. He treats such numbers as "Pick Me Up on Your Way Down" and "I'll Never Get Out of this World Alive" with much respect. But he doesn't treat them as museum pieces, thankfully. Instead, he inhabits them, has fun with them and, in the end, makes them feel like the songs he was born to sing. Given that this is an album filled with classics, it's really hard to gauge the best song on "Come on Back." My favorite changes every time I listen to the record. "Don't Let the Stars Get in Your Eyes," however, is hard to beat.
RECOMMENDED TRACKS: all of them – 3,4,7,8,12 are standouts
REVIEWER: Jim Harrington livedaily.com

DATE: 8/18/05
ARTIST:The New Pornographers
TITLE: Twin Cinema (Merge)
GENRE: ROCK/ALT
GRADE: A
REVIEW: If there’s any justice in the world Twin Cinema should be the album that breaks the Canadian rockers to a larger audience. It’s everything that’s given The New Pornographers a revered spot in the coolest record collections. Drenched in everything from ’60s classic pop to the ’80s American underground to modern indie pop, you won’t find a more well schooled pop act out there. Literary references intertwine with irresistible layered male/female harmonies, while the band mines a well of exuberant hooks with a nearly timeless elegance. Best of all, it’s actually immediate, accessible and, dare we say it, fun? Front man Carl Newman leads his troupe through a forest of power-pop references: You’ll hear vague allusions to everyone from The Raspberries and Big Star to The Knack and The Posies in the Pornographers, but Twin Cinema is all original. The title track crackles as distorted guitars work the power-bubblegum angle and the band’s secret weapon, its harmonies, makes sense of the crunchy chaos. In “The Bleeding Heart Show,” Newman shares lead vocals with his niece Kathryn Calder, for a stunning dose of vocal perfection, while the piano-led number “These Are the Fables” puts Neko Case in the spotlight for a tune that almost literally melts with soul. Songwriter Dan Bejar steps in with a bit of bombast in “Jackie, Dressed in Cobras” and “Broken Beads” that’s the perfect (and perfectly restrained) foil to Newman’s sugary essence.
RECOMMENDED TRACKS: all tracks rock, Neko Case on 7
4, 5 & 10 are highlights in the above review FCC TRACK 3: "shitfaced"
REVIEWER: excerpts from Matt Schild aversion.com

DATE: 8/18/05
ARTIST:Hackensaw Boys
TITLE: Love What You Do (Nettwerk)
GENRE: COUNTRY/BLUEGRASS/ACOUSTIC
GRADE: A
REVIEW: This band from Charlottesville, VA serves up a timeless and fairly mellow mix of American roots music – mixing elements of country, bluegrass, old-time and folk. Sweet harmonies and a relaxed vibe make this an album that's fine for listening to straight though at home or as a mix element on the radio. They will be coming to town (Second Story) on September 20, 2005.
RECOMMENDED TRACKS: 1,2,4,6,8,10,12
REVIEWER: Jim Manion/WFHB

DATE: 8/18/05
ARTIST:Shemekia Copeland
TITLE: The Soul Truth (Alligator)
GENRE: BLUES
GRADE: A+
REVIEW:Free of smothering veneers and stifling pop formulas, The Soul Truth probably won't be wafting across airwaves, and that's a shame, considering radio could use a blast of Copeland's vocal voltage. On her fourth album, the Harlem-born daughter of late blues guitarist Johnny Copeland delivers another gutsy collection of bluesy tunes, this time steeped in Memphis soul and Muscle Shoals. Produced by storied Stax guitarist Steve Cropper, the horn-punctuated album showcases Copeland's powerful chops and range, particularly in the rocking Givin' Up You, feisty
Breakin' Out, steamy ballad Strong Enough and gospelized Used, revealing a singer with fervor and funk, grit and grace, sass and sizzle.
RECOMMENDED TRACKS: 1,2,5,7,8,11
REVIEWER: Edna Gundersen USA Today

DATE: 8/18/05
ARTIST: Bob Mould
TITLE: Body of Song (Yep Roc)
GENRE: ROCK/ALT
GRADE: A
REVIEW:With Body of Song, his first new release since 2002, Mould shows that he can’t totally give up that guitar-driven power-pop sound. There are some of his new style of electro-rock hybrid songs, as he featured on Modulate, but also some of the purely driving rock that will be a part of his new world tour with a full band. It’s those songs that the old fans will surely long for. Guests Brendan Canty (Fugazi) and David Barbe (Sugar) help with that full-band sound, and I’m instantly sold on Mould all over again. The album-opener “Circles” is classic Mould. The guitars are thick and crunchy, the vocals rich and sprinkled with reverb, the beats powerful. And “Paralyzed” is just classic: it’s catchy and jangly at all the right moments, and it’s no doubt rocking, even with the heavy synth lines during the instrumental parts. There are other rockers here that are strong deep-album tracks, such as “Underneath Days” and “Best Thing.” There’s even some mellower, more dramatic moments, like “High Fidelity,” which features bells and organ, of all things, and the acoustic-led “Gauze of Friendship” that harks back to Mould’s classic days.
RECOMMENDED TRACKS: 1, 3, 4, 10, 8, 12
REVIEWER: excerpted from delusionsofadequecy.com

DATE: 8/18/05
ARTIST:The Greenhornes
TITLE: East Grand Blues (V2)
GENRE: ROCK/ALT/GARAGE
GRADE: A
REVIEW: The Greenhornes are from Cincinnati and they play a kind of garage-rock style that draws heavily from British Invasion bands, most obviously The Kinks and early Beatles. This EP is their major label debut after three full-lengths and a handful of singles. Slightly less rocked-out than their previous stuff, but still pretty raw.
RECOMMENDED TRACKS:1,2,4,5
REVIEWER: Jason Nickey/WFHB

DATE: 8.18.05
ARTIST: Minotaur Shock
TITLE: Maritime (4AD)
GENRE: Electronic
GRADE: A
REVIEW:At first you think he might be folktronica, then he chucks some Prefab Sprout-era 80s pop at you. Then you think he might be a fan of IDM, and he throws a bunch of jagged Philip Glass-style clarinets your way. OK, you've still got a chance. Perhaps, when he starts to play guitar in the style of The Wedding Present's David Gedge... In fact, the delicate, filigree music that David Edwards makes as Minotaur Shock is as uncategorizable as it is surprising. Although partly inspired by pirate stories, Maritime conjures up an ocean of sound where the horizon is constantly shifting. A real treasure.
RECOMMENDED TRACKS: 3, 4, 5, 8, 9
REVIEWER: Susan Glazer bbc.co.uk Collective

DATE:8/18/05
ARTIST:John Wilkes Booze
TITLE:Telescopic Eyes... (Kill Rock Stars)
GENRE: ROCK/ALT/GARAGE
GRADE: A
REVIEW: Recorded from Election Day 2004 through year’s end by Mahan Kalpa (neé Paul Mahern, vocalist of the legendary Zero Boys) at his White Ark Studio in Bloomington, JWB divided the session between splintered rock and their love of classic song structure and improvisation, which has been the foundation of recent tours. Starting the sessions with part-hope, the group quickly grasped the sick future and focused on recent and past societal and cosmic ills. The album opens with an impromptu keening then segues into a side of JWB-sired R&B. The Booze’s warbling rock fusion has been heralded from hi-to-low-brow from The Wire to Maximum Rock N Roll and all points in between. The previous Five Pillars of Soul album was a explicitly honed concept album, where as Telescopic Eyes hovers on an transcendent plane lyrically and aurally. It is not a political charged slap at today’s administration, more so an overview of feverish attempts and decisions made by many, stretching back to the 1800s through today in the realms of freedom fighting, occult groupings, direct action, and seeing signs in the snakes. “Barker Ranch Blues” and “Always Is Always Forever” is a circular meditation on the possibilities of believing what no one else will. John Wilkes Booze is Seth Mahern (vocals), Eric Weddle (guitar, electronics, alto saxophone), Chris Barth (bass), John Dawson (lead guitar), Grant Pershing (percussion).
RECOMMENDED TRACKS: 2, 5, 7, 12 NO FCC PROBLEMS
REVIEWER: fanatic reviews

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Wednesday, August 17

New Alt Rock CDs up for review

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Programmers and reviewers:
I just purged the alt rock "to be reviewed" shelf and refilled it with (mostly) new stuff. Brian Jonestown Massacre and the Dandy Warhols, a tribute disc to Sublime with Mike Watt on it, Koufax, Sons & Daughters, Suicide Machines, Jose Gonzalez, Echo & the Bunnymen, Idlewild, Black Rebel Motorcycle Club. These are some of the highlights. Swing by and take a look for yourselves.

If you're new to reviewing CDs for WFHB and have questions, or would like to start reviewing, talk to Jim (or me but I'll probably end up sending you to Jim anyway). It's a great way to find out about new music and to have a direct impact on our sound.
-Jason Nickey

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Monday, August 15

some hiccups

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hi all,

if you're following jim's link, and then can't find where you need to go to log on to post something yourself, you can do so at: http://www.blogger.com/home .

also, fyi: if you follow jim's link from the email, you get to the current FHB blog, but if you click on the bottom of the page (says something like WFHB music blog) you go to the "old" or beta version of the blog (without the recent half-dozen posts). not sure how to fix it, but it'd be good to fix.

2 Comments:

At Mon Aug 15, 12:19:00 PM, Anonymous said...: maybe someone fixed it. or maybe you just need a browser/page refresh. you shouldn't need to do that all the time, but I think everything is up to date.
At Mon Aug 15, 12:23:00 PM, Anonymous said...: me again. for getting to your dashboard or blogger home, clicking on the orange and white B in the top left corner of the blog should suffice.

looking good, y'all. thanks for posting your reviews!

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8/15 int'l genre adds

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Date: 15 Aug 2005
Label: Smithsonian Folkways
artist: Los Pleneros De La 21
title: Para Todos Ustedes
file under: int’l / latin
grade: A-

Para Todos Ustedes is a successful fusion of some traditional elements of Puerto Rican music with more contemporary influences. Specifically, it draws heavily from the bomba rhythmic and percussive style, and the call-and-response-oriented plena topical song form, though it also bears the marks of salsa and jazz. The shifting percussive rhythms might be the most distinctive feature, while call-and-response vocals also take central position on songs like "Angelito (Little Angel)" (01). Combined with the quick, roving, jazzy guitar patterns, this might sound to some ears like a somewhat Latinized version of some contemporary African music, though such similarities are attributable to both styles having evolved from similar sources. At times the jazz aspects come more to the fore, while the more traditional aspects are accented on an update of a bomba chant, "Campo (Land)/Yo Cantare Esta Boma, (I Shall Sing This Bomba)" (09). There's a little bit of both English and Spanish rap in "Chiviriquiton" (10), but that's the only such interjection in an album that's very much grounded in Puerto Rican styles. (3 ½ stars)

choice cuts: 01, 02, 10, 09
reviewer: Richie Unterberger, All Music Guide

Date:15 Aug 2005
Label: Coral Music
artist: Majek Fashek
title: Little Patience
file under: reggae / int’l (Nigeria)
grade: A-

The first album in eight years from Nigerian reggae-funkster Majek Fashek deserves broad Firehouse attention. From the opening James Brown-like count-off on “Let It Shine” (01), you know Fashek’s got the goods. Three parts reggae, one part afrobeat funk, Little Patience is the irie cousin of Femi Kuti’s Live at the Shrine. Indeed, Fela’s “Water No Get Enemy” (08), covered here by Fashek, was also recently covered by Kuti. Both discs also are chock full of tracks with extended playing times. Still, the reggae vibe is the crucial distinction. Fashek even goes acoustic on “Someday, One Day” (11) and can’t help but invoke “Redemption Songs” in a good way. Little Patience will work for both Reggae Children and Planetary Caravan, as well as weekday mixes.

choice cuts: 01, 11, 08, 06, 07
reviewer: bjorn ingvoldstad

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Reviewers, etc. wanted

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Greetings:

If you have an interest in Hip Hop, Soul and R&B, there are ample opportunities to review this music at WFHB.

More information at the next monthly meeting(or sooner).

Cheers!

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Friday, August 12

Lotus Festival 2005 Artist profiles

link

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It's never too early to start getting familiar with this year's Lotus Festival lineup. The link above will take you to the artist roster page. The Lotus Festival CD collection will be in the air studio in a week or two.
~Jim Manion PD/MD WFHB

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Electronic Genre Picks 8.12

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DATE: 8.12.05
ARTIST: Beck
TITLE: Remix EP #1
GENRE: Electronic
GRADE: A
REVIEW: Never afraid of getting himself remixed, Beck throws 6 tracks from Guero out to some top-notch mixologists and gets gold in the return mail. Boards of Canada remix Broken Drum inside-out while keeping the loping downtempo sadness intact. South Rokkas Crew go electro-echo with Black Tambourine. Royskopp make Missing bubble, but keep the strong chorus up front. Ghost Range is actually E-Pro, sounding lost in the microchips with a stray banjos and violin. Fax Machine Anthem is the most radical remix, Dizzee Rascal makes Hell Yes click and pop. Farewell Ride is remixed by Subtle, kicking off with a crashing beat that sounds like the drum kit got thrown down a well.
RECOMMENDED TRACKS:1, 3, 4, 5
REVIEWER: Jim Manion

DATE: 8.12.05
ARTIST: The Free Design
TITLE: The Now Sound Redesigned
GENRE: Electronic
GRADE: A
REVIEW:
Three years in the making, the Free Design Redesigned series comes to its logical conclusion. Compiling both vinyl-only volumes of the critically acclaimed series and including 3 exclusive bonus tracks onto one CD, Redesigned features a stellar selection of today’s finest music makers. All have risen to the challenge of reworking classic tunes from ‘60s soft-psych masters, the Free Design. Mixed and sequenced by DJ Nobody (Ubiquity), the group’s mellifluous sounds—that explode with angelic vocals, funky grooves, and hook-heavy songwriting—have been clearly pushed into the 21st century. Redesigned contains 13 radical reinterpretations for the club, home, or hi-fi. Highlights include Stones Throw’s official beat conductor Madlib, who turns “Where Do I Go” into an Afro-funk celebration. Belle & Sebastian’s Chris Geddes envisions “2002—A Hit Song” as a four-on-the floor stomper and Grey Album mastermind Danger Mouse & DefJux legend Murs make their debut collaboration with a wicked twist on the unreleased Free Design track “To A Black Boy”. Caribou (formerly Manitoba) delivers an insane 8-minute free jazz psych opus while the Super Furry Animals and Stereolab & the High Llamas celebrate their love of the group with their trademark sound. Previously unreleased works include Styrofoam’s (Morr Music) fresh take on “I Found Love”, Koushik with an MC TBA, and renowned turntablist Kid Koala along with Beastie Boys and Modest Mouse remixer, Dynomite D. Far from being another boring tribute piece, Redesigned’s musical testimonials speak for themselves. Everyone involved has sought something deeper than your average remix; obvious testaments to the Free Design’s unique brand of feel good pop-psych.
RECOMMENDED TRACKS:2, 5, 8, 15, 16
REVIEWER: Fanatic reviews

DATE: 8.12.05
ARTIST: Minotaur Shock
TITLE: Maritime
GENRE: Electronic
GRADE: A
REVIEW:At first you think he might be folktronica, then he chucks some Prefab Sprout-era 80s pop at you. Then you think he might be a fan of IDM, and he throws a bunch of jagged Philip Glass-style clarinets your way. OK, you've still got a chance. Perhaps, when he starts to play guitar in the style of The Wedding Present's David Gedge... In fact, the delicate, filigree music that David Edwards makes as Minotaur Shock is as uncategorizable as it is surprising. Although partly inspired by pirate stories, Maritime conjures up an ocean of sound where the horizon is constantly shifting. A real treasure.

RECOMMENDED TRACKS: 3, 4, 5, 8, 9
REVIEWER: Susan Glazer bbc.co.uk Collective

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Thursday, August 11

Reviews: New in the Addpool this week (8/8)

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DATE:8/8/05
ARTIST: Krista Detor
TITLE: Mudshow (Tightrope)
GENRE: LOCAL/FOLK/SS
GRADE: A
REVIEW: "Like a voyeur peeking into our homes, relationships, myths and the dark night of our souls, Detor has left the truth bundled at our doorstep and rung the bell. (She) sings like an angel on 'Mudshow'...the Angel of Death playing Russian Roulette with the Grim Reaper over tea and brandy. Alternating anesthesia and a cold scalpel down the belly, Detor takes names not prisoners...'" Slats Klug
"This CD (Mudshow) is an amazing and rare confluence of three elements that make it a stunning work of art. Heart-breaking poetry, wrapped inside sophisticated, gorgeous melodies, delivered to you by a beautiful voice that beckons with its humanity while destroying you with its truth." Lauren Robert
“There is no difference between Krista Detor’s album 'Mudshow', and a CD that sells a million copies. It is that kind of good—the next car on a gravel road, this time in Indiana: familiar but completely new. I feel very lucky to be among those who can say, “Hey! I heard this first!” Sam Bartlett

DATE:8/8/05
ARTIST: Rodney Crowell
TITLE: The Outsider (Columbia)
GENRE: ROCK/MAINSTREAM
GRADE: A
REVIEW: He used to be a country star, but ever since “The Houston Kid” Rodney Crowell has been stepping further into an adult rock sound. A detailed lyricist who either tells stories of love and everyday life's challenges (1,5,8,9) or social commentary (2, 6, 7, 11), Crowell's better songs hit in a profound way. He also seems like he's having a lot of fun and doesn't miss being a big-hat guy at all. Secret weapon in the studio: guitarist Will Kimbrough. CD #1 is the new release, CD#2 holds some of the best songs from his last two releases.
REVIEWER:Jim Manion/WFHB

DATE: 8/8/05
ARTIST: The Stairwell Sisters
TITLE: Feet All Over the Floor (Yodel-Ay-Hee)
GENRE: FOLK/OLD-TIME
GRADE: A
REVIEW:If you enjoy listening to authentic string band music then look no further. Using their voices as musical instruments they ebb & flow back and forth and come back together to create a beautiful sound. The vocals were excellent, you can really feel the emotion and enthusiasm. I have heard many of these songs before but they take on new life on this project. The instrumental work is superb and dovetails very well with the songs being sung. Hearing this CD once was not enough. It needs to be played several times in order to fully appreciate the combination of their fine voices and the great lyrics of each song. I played the entire CD and received many calls to play it again. I will be playing several cuts each week until the CD has been played in total again." - Al Shusterman, KCBL/Backroads Bluegrass
WFHB NOTES:
The Stairwell Sisters feature former B-town musician (and WFHB mix DJ) Evie Laden. She wrote and sings lead on tracks 10 & 13, sings lead on 17 & 19. No bum tracks on the disc – take your pick!

DATE: 8/8/05
ARTIST: Grayson Capps
TITLE: If You Knew My Mind (Hyena)
GENRE: FOLK/SS
GRADE: A
REVIEW: The centerpiece of his seductive solo debut, “Bobby Long” nails its subject with gritty details like “old orange juice and vodka on a night stand.” It also encapsulates the high brow/white trash clash that makes Capps’ vision so compelling. Picking backporch acoustic guitar and singing in a voice cracked with whiskey and cheap cigarettes, Capps references T.S. Eliot and namechecks Flannery O’Conner. Like Lucinda Williams, who is clearly a guiding light, Capps has a poet’s eye for place; you can almost smell the “rotten paradise” that clings to his dirty clothes in “Get Back Up.” He even makes a pit stop in “Slidell,” a memorable Williams’ destination. But it’s his pitch-perfect ear that makes the vivid images come alive. Framed by swamp-goth electric guitar, and shadowed by the soul-kiss harmonies of Trina Shoemaker (who also produced), “Graveyard” is as beautiful and menacing as a classic murder ballad should be. And the muffled drum of the bullfrog chorus in “I See You” sounds exactly like Capps describes it: “Just like a concert down in Nouvelle Orleans.”
REVIEWER: offbeat.com

DATE: 8/8/05
ARTIST: Delbert McClinton
TITLE: Cost of Living (New West)
GENRE: BLUES/TEXAS R&B
GRADE: A
REVIEW: Delbert McClinton distills the bluesy side of Texas music into an infectious melange that is his alone, and he's been doing it for 30 years or so with few missteps. He's turned into a sort of witty old hound dog, cracking wise about making the most of life or laughing at himself and others. All while delivering these tales over killer grooves that bring in jazzy horns, smoking guitars and a big sense of fun.
REVIEWER: Jim Manion

DATE: 8/8/05
ARTIST: Brother Henry
TITLE: Chasing Happiness (Double Deal)
GENRE: ROCK/MAINSTREAM
GRADE: A
REVIEW: Bringing to mind the early work of The BoDeans, The Silos and especially the Mark Olson-era Jayhawks, Brother Henry, whose members have worked with Ben Folds, Josh Rouse, The Cowboy Junkies and more, make something more akin to Southern pop than what passes for alt-country these days. There's nothing dirty or dangerous about Chasing Happiness, but that was never the intention anyway. "We were definitely going for pop, but mainly we were going for higher energy," says David Henry. David fronts Brother Henry along with his identical twin brother, Ned. Unlike their more even-tempered debut, C'mon People, Chasing Happiness is unapologetically positive, and sometimes downright hokey on songs like Fab Four and Two Old Friends. But beyond purposefully poppy tunes like the Byrds-ish Spaceman, the band, which also includes Henry Brother Jeff and drummer Park Ellis, are still at their best when their sunny songs are given the twilight treatment. It might be that songs like Where Will I Be and Deep in the Dark are standouts because David is an accomplished cellist, so his voice is at its most natural when the melodies are more strung out and mellow. Or maybe it's because underappreciated guitarist brother Ned plays the laidback Mark Knopfler/Richard Thompson style as masterfully and intuitively as anybody in Nashville. And their identical-twin sibling vocals are very special, to say the least.
REVIEWER: Jason Moon Wilkins/Nashville Rage

DATE: 8/8/05
ARTIST: Amadou & Mariam
TITLE:Dimanche A Bamako (Nonesuch)
GENRE: INTERNATIONAL/AFICA/WORLD FUSION
GRADE: A+++
REVIEW: Already a hit in France, where it broke into the pop album charts and notched up sales of more than 100,000, this is the African/pop hybrid curiosity set of the year. Amadou and Mariam are a blind, middle-aged couple from Mali who for years have specialised in a simple, rhythmic style of African R&B and jazz-funk, embellished with Amadou's rousing guitar work, which was inspired by such English heroes as Eric Clapton and Alvin Lee. Their fortunes were dramatically changed when Europop (and world music) hero Manu Chao heard one of their songs, and decided to produce, co-write and even appear on this new set. The result is an intriguing mix in which Amadou's old-style gutsy blues-rock is matched alongside gentle, slinky tracks such as M'Bife. Then there's a sudden switch to Chao's own material, with songs like Senegal Fast Food and Taxi Bamako sounding firmly in the tradition of his own Clandestino, with brass, harmonica and African street noises added in. It remains to be seen whether Amadou and Mariam will ever equal this success without his help, but no matter - this is a great pop record.
REVIEWER:London Guardian

2 Comments:

At Thu Aug 11, 05:56:00 PM, Anonymous said...: looks, sharp, jim! this is going to be nice.
--bjorn
At Fri Aug 12, 02:45:00 PM, Anonymous said...: excellent. I enjoy blogging and will probably comment often. Now on to my reviwing...

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WFHB Music - Bloomington Community Radio

Monday, August 29

new int'l discs for 8/29

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Friday, August 26

New WFHB Add Pool Reviews for August 22

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Sunday, August 21

int'l genre adds for 8/22

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Friday, August 19

Add Pool CDs for this week

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Wednesday, August 17

New Alt Rock CDs up for review

0 Comments:

Monday, August 15

some hiccups

2 Comments:

8/15 int'l genre adds

0 Comments:

Reviewers, etc. wanted

0 Comments:

Friday, August 12

Lotus Festival 2005 Artist profiles

0 Comments:

Electronic Genre Picks 8.12

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Thursday, August 11

Reviews: New in the Addpool this week (8/8)

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