WFHB Music - Bloomington Community Radio

Friday, February 24

ADDPOOL 2/20

DATE: 2.20.06
ARTIST: Bob Cheevers
TITLE: Texas to Tennessee (Back Nine)
GENRE: COUNTRY
GRADE: A-
REVIEW: Bob Cheevers is a late-bloomer in terms of releasing his
own music but has been on the roots music underground for years, including spending some time in Brown County here in Indiana. He still comes through for a gig or two every year or so. His new album is s story-telling affair with many geographical references. Some songs don't click, but those that do are engaging with lyrics that draw you into the story and great production that kicks the songs in gear. Bob's voice is somewhat similar to Willie Nelson's. Recommended for daytime mixes and Saturday roots usic specialty shows.

RECOMMENDED TRACKS: 1,5,6,8,10,12
REVIEWER: JIM MANION/WFHB

DATE: 2.20.06
ARTIST: Norman and Nancy Blake
TITLE: Back Home in Sulpher Springs (Dualtone)
GENRE: FOLK
GRADE: A+
REVIEW: After decades of collaborating on finely presented folk music, this release could be their finest. An album of mostly traditionals, although those who are critical of the Bush administration may want to check out the hidden track (15) “Don't Be Afraid of the Neo-cons”.

RECOMMENDED TRACKS: 1,2,4,7,8,11,12,13,15
REVIEWER: Jim Manion/WFHB

DATE: 2.20.06
ARTIST: The Mammals
TITLE: Departure (Humble Abode)
GENRE: FOLK
GRADE: A
REVIEW: In an odd nod both to and against convention, the group foregoes trad. arr. village tunes in favor of some relatively recent songs to cover. The Morphine track, "Do Not Go Quietly unto Your Grave," comes as a natural fit, opening with a relatively dark drone before Michael Merenda takes up a bluesy vocal. "Solo le Pido a Dios" comes from the pen of Leon Gieco and has been performed by Arlo Guthrie. The Mammals keep the Spanish lyrics, but include the translation in their liner notes. The song works as a prayer and as an antidote to self-righteous political assertion. The final cover is from a Nirvana song, which comes as it never was, country slinky, with Ungar's soft field voice adding a new tone to Cobain's plea. While the group performs its covers well, it succeeds more on the album's nine originals. The album opener, "Follow Me to Carthage" shows the band at its compositional peak. Merenda's song carries a firm political stance concerning the New York Times, but it’s buried by poesy and '60s harmonies.The group never backs away from its politics (as on "Silk Song," which is the rural answer to Kanye's "Diamonds," with an added touch of anti-materialism). Fortunately, the Mammals avoid heavy-handedness, largely due to Merenda's deft subtlety and the group's light execution of the music. "Alone on the Homestead" provides the album's other most blunt political moment. A baited-Reds past informs the Mammals' work, but they don't create music for the work-camp or the railroad. The instruments—primarily acoustic guitar, banjo, and fiddle—develop simple lines that lock tightly as they explore their arrangements. The resulting effect is more pristine than old protest songs, which is maybe as it should be for a contemporary folk act in the studio. The songs on Departure are folk as it's always been, but sounding like it's now.
RECOMMENDED TRACKS: 1,2,3,4,5,8,9
REVIEWER: www.stylusmagazine.com

DATE: 2.20.06
ARTIST: Charlie Hunter Trio
TITLE: Copperopolis (Ropeadope)
GENRE: JAZZ/FUNK
GRADE: A
REVIEW: Everything the group’s doing now can be heard in the album opener, “Cueball Bobbin’.” Copperopolis is being heralded as Hunter’s “rock” album, and the intro, with Hunter's electric wail, Ellis' Wurli skronk and almost-violent Phillips drumrolls could vibrate a sport arena pretty effectively—but here and everywhere else on the CD, the bombast is strained through Hunter’s playful bong-hit affability and his total lack of pomposity. There's not too much sax on that one, but barnburners like “Swamba Redux” and ”Blue Sock” feature Ellis' snaky, almost alto-ish tenor to stunning effect. “The Pursuit Package” is a two-minute John-Bonham-Meets-Link-Wray teaser that crashes into the goofily lilting “A Street Fight Could Break Out,” with near-perfect Wurlitzer comping that slots between the spaces in Hunter’s lines, all over a groove made somehow more menacing by its sheer slowness. Ellis’ melodica solo steals the show , though. The trio’s interplay and chemistry here seem worlds beyond the same band recorded on Friends Seen and Unseen two years ago.
RECOMMENDED TRACKS:1,3,5,7,9
REVIEWER: wxcerpts from www.allaboutjazz.com

DATE: 2.20.06
ARTIST: Sternberg & Bartlett
TITLE: Belting You With Reels (Stuntology)
GENRE: FOLK/LOCAL
GRADE: A+
REVIEW: Local whiz-kid Sam Bartlett teams up with fiddler Sue Sternberg for a lively set of reels. Reel after reel after reel...all are played with fun and great verve. Track 16
features Airtime Studio's Dave Webber doing some wicked Tuvan throat singing.
RECOMMENDED TRACKS: all of 'em!
REVIEWER: Jim Manion/WFHB

DATE: 2.20.06
ARTIST:Sam Baker
TITLE: Mercy (Reckless)
GENRE: COUNTRY/SS
GRADE: A+
REVIEW: Austin singer-songwriter, Sam Baker, got his body blown apart in Peru when a bomb went off on a train. Senseless violence, but Baker chose to make blessings of his wounds. Eighteen surgeries later, Sam had to switch to playing guitar left-handed because of damages. His singing is about as honest as it gets. Mercy works as a suite, simple and complex, offering rich details which activate the imagination. This is a folk album, but don't be fooled by category; there's a genius at work here. Townes Van Zandt would've loved these songs, might've tried to win them in a card game. But Baker's no gambler. These songs are his art. It's been a while since a record sent such a short right hand to my heart, and that was before I read Baker's bio.
RECOMMENDED TRACKS: 1,3,4,6,7,11,12
REVIEWER: www.freighttrainboogie.com

DATE: 2.20.06
ARTIST: Willie Nile
TITLE: Streets of New York (00:02:59)
GENRE: ROCK/MAINSTREAM
GRADE: A
REVIEW: Willie Nile
**** (four stars) UNCUT Magazine
An explosive performer and perceptive songwriter, Nile burst
onto the late 70s NY scene, carrying a poet's flare for the
romantic and dramatic. A near-perfect eponymous debut and tour
with The Who confirmed his considerable talents. But a poorly
produced follow-up (Golden Down) and legal wranglings derailed
a promising career. Streets of New York, against all odds, returns
Nile to his strengths: dazzling Dylan-meets-Patti Smith anthemics
infused with breathless, beatific lyrics and crisp Buddy Holly rhythms.
"Cell Phones Ringing (In the Pockets of the Dead)" is a chilling riposte
to these times, and the title song is the most beautiful elegy
imaginable for his hometown.
RECOMMENDED TRACKS: 1,4,5,7,10,11,13
REVIEWER: Luke Torn/Uncut Magazine

DATE: 2.20.06
ARTIST:Goldfrapp
TITLE: Supernature (Mute)
GENRE: ELECTRONIC/POP
GRADE: A-
REVIEW: The highly creative duo of Goldfrapp and Will Gregory ingeniously sidestep simple categorization. While there are hooks aplenty and loads of contagious dance beats, the enigmatic quality that made fans fall in love with the music four years ago is still present, albeit in a more accessible package. Goldfrapp have always displayed a fascination with vintage pop sounds, from '80s synth pop to classic European disco, but it was glam that dominated their last release Black Cherry. On the new album, Goldfrapp are clearly in if-it-ain't broke mode, as the opening track (and lead single) "Ooh La La" closely follows "Strict Machine"'s lead, with its bouncing synth line, the shuffling 2/4 beat, and cascading synths near the end. While Black Cherry seemed to serve up ace after ace, Supernature is less direct, eschewing big choruses in favor of much more subtle hooks. An obvious nod to T. Rex's "Ride a White Swan", "Ride a White Horse" sounds destined for club hit status; a blend of insistent dance beats and an ethereal chorus, Goldfrapp shifts from a cold, husky croon to more euphoric tones, to the kind of vocal acrobatics that will elicit comparisons to Kate Bush. The electro-tinged "Fly Me Away" audaciously veers into Ladytron territory, but suddenly bursts into a gently lilting chorus, as Goldfrapp displays the kind of vocal skill that sets her apart from her peers. The buoyant "Satin Chic" is carried by fun little piano fills, reminiscent of early Elton John, while the Numanesque "Number 1" proves to be the real charmer on the disc, Goldfrapp sounding absolutely beguiling, while Gregory provides a gorgeous, Human League style backdrop. Goldfrapp and Gregory are smart enough not to let their poppier moments overshadow the rest of the record, balancing the upbeat tracks on Supernature with plenty of more laid-back compositions. The sultry "You Never Know" and the tender "Let it Take You" both achieve an impressive balance.
RECOMMENDED TRACKS: 1,3,4,5,6,9,11
REVIEWER: excerpts from www.popmatters.com

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ADDPOOL 2/13

DATE: 2.13.06
ARTIST:Sly & The Family Stone
TITLE: Different Strokes By Different Folks (Epic/Legacy)
GENRE: SOUL/FUNK
GRADE: B+
REVIEW: It was great to read about Sly getting big props at this year's Grammy's. This release was timed to capitalize on that. Produced by Sly himself, the quality control is pretty good, although like any tribute/remix-with-overdubs project there are a few “what were they thinking moments”. Mostly, though, it's a lot of fun with the best tracks really cooking. Ultimately it makes me want to put on the originals and crank them up (which may be Sly's strategy anyway...).

RECOMMENDED TRACKS: 1,4,5,8,9,10,11,12
REVIEWER: Jim Manion/WFHB

DATE: 2.13.06
ARTIST: Amelia White
TITLE: Black Doves (Funzalo)
GENRE: COUNTRY/ALT
GRADE: A-
REVIEW: Sounding kin to Lucinda Williams, Amelia White brings forth an East Nashville alt-country sound that carries quite a bit of a rock as well. Lyrically, she is mostly down and out (with a little bit of hope) and goes political on “Black Doves” with her views on Iraq.

RECOMMENDED TRACKS: 2,4,5,7,9
REVIEWER: Jim Manion/WFHB

DATE: 2.13.06
ARTIST: Marley's Ghost
TITLE: Spooked (Sage Arts)
GENRE: FOLK
GRADE: A+
REVIEW: On Spooked, Marley’s Ghost creates a musically sophisticated, thematically rich piece of work that serves as a belated coming-out party for a band that deserves to be more widely heard. The album bears the stamp of two legendary figures whose idiosyncratic skills match up beautifully with the band’s own — composer/arranger/player Van Dyke Parks, who jumped at the chance to produce, and cartoonist R. Crumb, who illustrated the package. For the album, Parks brought in such renowned players as guitarist Bill Frisell, bassist Buell Neidlinger, and drummer Don Heffington to complement the core band on select tracks. Parks became an auxiliary band-member himself, playing piano, Hammond B-3 organ, marimba and chimes. One of the reference points for Spooked was Ry Cooder’s self-titled 1970 debut, which Parks arranged and co-produced. Another was The Band’s 1968 landmark, Music From Big Pink. The album contains 12 originals that range from such deftly witty and satirical compositions as “Get Off the Track,” “Last Words,” “There’s Religion in Rhythm” and “The Ballad of Johnny Hallyday” to touches of stone country (“High Walls”), white gospel (“”Last Words,” “Old Time Religion”) and the Stephen Foster-steeped “Love, Not Reason.” The band also covers Bob Dylan’s “Wicked Messenger” and the Civil War-era “Sail Away, Ladies,” which salutes the album’s closing track, “Seaman’s Hymn.” Marley’s Ghost is comprised of Dan Wheetman (vocals, bass, rhythm guitar, fiddle, harmonica, banjo, Dobro and lap steel), Jon Wilcox (vocals, mandolin, rhythm guitar, guitar, bouzouki), Mike Phelan (vocals, lead guitar, fiddle, Dobro, bass and lap steel) and Ed Littlefield Jr. (vocals, pedal steel guitar, Highland bagpipes, keyboards, mandolin, Dobro and lead guitar).

RECOMMENDED TRACKS: 1,2,3,4,5,7,10,12
REVIEWER: www.modernguitars.com

DATE: 2.13.06
ARTIST: Sarah Harmer
TITLE: I'm A Mountain (Zoe)
GENRE: FOLK/SS
GRADE: A
REVIEW: I’m a Mountain, is a feast of country and bluegrass that sounds more like Songs for Clem than any other Sarah Harmer record. Unlike All of Our Names' remote and lacklustre production, I’m a Mountain shines the whole way through. While many of the songs were inspired by old-timey country, the album’s freshness and vitality prove that it’s not only quaint to revisit this genre, but also worthwhile. For instance, Harmer is a brilliant interpreter of Parton’s “Will He Be Waiting For Me?” and improves on it on her own “I Am Aglow,” the record's first single.The warm, clean production of I’m a Mountain is a perfect match for these songs, whose dominant themes are reawakening and renewal. The album abounds with imagery about waiting out the winter in anticipation of something brighter. In “The Ring,” Harmer praises a friend’s ability to cope with her in a dark mood by comparing the mood to nature’s changeability: “We sat it out like some passing bad weather.” “I’m a Mountain,” in which Harmer discovers a personal strength in a surprising place --- the shopping mall --- spells it out a bit more clearly: “You have to choose if you will die or g-row.” Then there’s “The Phoenix”; yeah, it's about rising from the ash and all that, but Harmer makes it fun and convincing with her charming up-tempo meditation: “Who was that phoenix anyway / Just some bird who flew away / And flies still.” “Oleander” provides the most potent symbol of survival and reawakening: “Oleander, I think you’re better / I think you made it through another winter.” This song embodies the reward that is spring for those who can last the winter, and Harmer knows about this; you can hear the snow melting in her voice. Harmer says I’m a Mountain was “made for everyone, everywhere.” Its country influences lend it a sincerity and lack of cynicism that is rare and refreshing, and Harmer has a quirky sense of humour about it, too, including a french children's song about a "magical amphibian" that reaches out to a whole 'nother demographic. As versatile and accessible a musician as she is, however, it's her vocals that once again push Mountain over the top.
RECOMMENDED TRACKS: 2,3,4,7,9
REVIEWER: excerpts from www.cokemachineglow.com

DATE: 2.13.06
ARTIST: Mark Erelli
TITLE: Hope & Other Casualties (Signature Sounds)
GENRE: FOLK/SS
GRADE: A-
REVIEW: ‘Hope and Other Casualties’ is a substantial album in the ‘old-style’ troubadour singer/songwriter vein – there are protest songs, historical tracks, social commentary and love songs, but where the disc really delivers is at an emotional level, and almost every track will elicit a response from the listener.
As befits an album of this style, the instrumentation is fairly simple and traditional, Mark’s guitar and excellent harmonica work are prominent throughout, and there’s support over the course of the disc from mandolin, bass and some notable percussion work. The backing vocals are beautifully used and are provided by Lori McKenna, Kris Delmhorst, Peter Mulvey and Jeffrey Foucault. The real strength of this disc is it’s variety and consistency – the songs cover a range of styles and subjects and the quality never drops, highlights include ‘Hartfordtown 1944’ a stunning and aptly Dylan-like tale of a tragic circus fire.‘The Only Way’ may have been written by Mark a few years ago (and recorded by Ellis Paul & Vance Gilbert), but this studio version shows the song in its best form, it’s a powerful statement full of energy and wrapped in a great melody. The final two songs ‘Passing Through’ and Sexsmith’s ‘God Loves Everyone’ are the perfect end to the disc, ‘Passing Through’ is the best of the 11 songs here, a fairly simple acoustic track with a beautiful acoustic arrangement of guitar, accordion and mandolin with backing vocals provided by the Redbird trio, but the lyrics are a powerful and personal declaration that resonate on every listen.
RECOMMENDED TRACKS: 2,3,4,9,10,11
REVIEWER: www.fishrecords.co.uk

DATE: 2.13.06
ARTIST: Teddy Thompson
TITLE: Separate Ways (Verve Forecast)
GENRE: FOLK/SS
GRADE: B+
REVIEW:The music business is often a family affair. Kelly Osbourne duetted with "pops" on a risible remake of Black Sabbath's Changes a while back, while Rufus Wainright's mum backing-vocalled on the lad's superb Want Two last year. Here, Teddy's famous parents, UK folk rock luminaries Richard and Linda, appear on Separate Ways and their inclusion merely serves to cap what is a truly sublime record. Armed with a songwriting talent and a voice that many would die - or kill - for, Thompson's songs are thoughtful, heartfelt and delivered with the right balance of passion, pathos and grace. Ironic opener Shine So Bright is just such a tune, as is the bittersweet I Wish It Was Over and Sorry To See Me Go. He can open it up too, as on the boisterous That's Enough Of You, featuring the mean guitar picking that is his father's trademark. Occasionally folksy, bluesy, and even toying with classic Americana, Thompson has the balance spot on throughout the album. It's a measured though never plodding work, never running away with itself, yet neither does it stutter or stumble for want of a good tune. Few albums are issued today where every track is worthy of inclusion, but Separate Ways is decked out with such quality from beginning to end it deserves the plaudits it has already received elsewhere.
REVIEWER: www.virgin.net

also added at WFHB this week:
Destroyer Destroyer's Rubies (Merge)
Neko Case Fox Confessor Brings the Flood (Anti)
BR549 Dog Days (Dualtone)
Watermelon Slim and the Workers (Northern Blues)

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polysics + new int'l

comrades! new polysics has arrived! we at international genre central cede power over this disc to alt-indie land....it appears to be getting CMJ 200 interest, which trumps the New World chart, best as I can tell....also, four add'l int'l discs, including a celtic rock/punk compilation, a disc you may have already seen at Starbucks, and two others that you didn't....

Artist: Polysics
Title: Now is the Time!
Label: Tofu
Genre: alt-indie / techno-punk from Japan
Grade: A

They stole the show on every Japan for Sale compilation in memory, and now their fourth full-length release is out to fully stake claim to the obvious: Polysics rule the universe. Everything you liked about 70s-era Devo, brought to you by your friends in Tokyo. Essential.

Reviewer: bjorn “Q: Are We Not Men?” ingvoldstad

Artist: v / a
Title: Shite’n’Onions Volume 2: What the Shite
Label: Omnium
Genre: int’l / celtic punk in time for St Paddy’s
Grade: A- / B+

John Murphy has outdone himself yet again with this compilation. Vol. 2 has great artists like Blaggards (01), The Porters (19) and Larkin (08) mixed with some newcomers to us like Jug O Punch (07) and Warblefly (17). This 20-track disc is full of great high powered drinking tunes that will get you introduced to some of the artists that are making a buzz now on the international Celtic Rock & Punk music scene…

Reviewer: paddyrock.com

Artist: Sergio Mendes
Title: Timeless
Label: Concord / Hear Music
Genre: int’l / latin
Grade: B / B+

It's easy to think that since Santana made his big comeback using a lot of contemporary pop stars it would become the formula for the artists of yore to edge their way back into the limelight. Sergio Mendes, the best-selling Brazilian recording artist of all time, hasn't made a platter in eight years. He plays piano on a Black Eyed Peas track -- "Sexy" from Elephunk -- and the jam's a smash. Will.i.am of the Peas decides to hook up for a full-on collaboration with Mendes, because he's a huge fan. Being the hotshot producer of the moment, will.i.am recruited everyone from Q-Tip, Justin Timberlake, and John Legend to Jill Scott, Black Thought (the Roots), and Stevie Wonder (just to name a few) to sign on. Recorded in both Brazil and the House of Blues in Encino, the set revisits many Mendes and Brazilian songbook classics and reworks them in the modern beat-driven idiom. The end result is entertaining, if mixed—Timeless is a mixed bag, but it's not because of Mendes. His own playing and arranging is utterly elegant. As a producer, will.i.am means well and in general does a fine job -- though he is, as would be expected, a tad overzealous in working with one of his idols. ( 3 stars )

Reviewer: Thom Jurek, All Music Guide

Artist: Bombay Dub Orchestra
Title: Bombay Dub Orchestra
Label: Six Degrees
Genre: int’l / caravan electronica
Grade: B / B+

Bombay Dub Orchestra as a high concept is par for the Six Degrees course: two electronica dudes (in love with their hats—see sleeve photo) hook up w/ a four dozen-piece Indian orchestra! Amazingly enough, the results are tepid to mixed. My favorites on Disc One (“Bombay”) tend to be atmospheric instrumentals that wouldn’t sound out of place on Hearts of Space. Disc Two (“Dub”) is a bit more adventurous, but seems to just confuse the larger project. BDO apparently consider themselves punsters—“The Berber of Seville,” anyone? “Beauty and the East”—get it?! You betcha.

Reviewer: bjorn ingvoldstad

Artist: Oscar Castro-Neves
Title: All One
Label: Mack Avenue
Genre: int’l / Brazilian light jazz!
Grade: B

“Oscar Castro-Neves is a gifted Brazilian musician settled in the U.S. since 1966. (He made an) important contribution to the movement usually known as bossa nova…”
--All Music Guide

“All One is somewhere between the Caravan and that light jazz station you check out now and again as a guilty pleasure. Luciana Souza makes a welcomed guest appearance on “Morrer De Amor” (04) and “Não Me Diga Adeus” (06)…”
--Caravan Curmudgeon

Reviewer: bjorn ingvoldstad

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Sunday, February 19

newest latest: caravan + prodigy!

comrades! i give you three int'l diskies, and one prodigy best-of! proceed!

Artist: Apollo Nove
Title: Res Inexplicata Volans
Label: Ziriguiboom / Crammed
Genre: int’l / Brazil
Grade: A-

Fun fact: this disc’s title is the Latin translation for “unidentified flying object”! Apollo Nove isn’t quite praying to the aliens just yet, but this loungey electronica nova sounds like Air the morning after Rio carnival—no coincidence, then, that their engineer recorded and mixed this record! Nove himself sings on about half the tracks, the rest covered by several guests, most notably Seu Jorge on “Ensaboar Você” (04) and “Capoeira” (11). If you’d like an English-language track, try “War” (07).

Reviewer: bjorn ingvoldstad

Artist: v / a
Title: Brazilian Lounge
Label: Putumayo
Genre: int’l
Grade: A

Wonderfully slick, urban Brazilian music fills this CD from start to finish. The works are essentially what one would expect as ambient background music in a documentary on modern Rio, but the sound indeed goes past that somewhat. The basic format for much of it is electronica meets samba or bossa, but excellently executed. There are hints of something more adventurous now and then, but in truth it's not often the aim of lounge music to be adventurous as much as it is to be simultaneously relaxed and grooving. Standout tracks on the album include a remix of Bebel Gilberto's "August Day Song" (09), a short vocal performance by Seu Jorge over the top of a funky cut from BiD (08), and the new bossa cut of Paula Morelenbaum (01) that harks back directly to the work of Jobim and de Moraes, but with a tight little cut of drum'n'bass added in. A highly consistent album, rarely leaving the realm of the key groove. ( 4 stars )

Reviewer: Adam Greenberg, All Music Guide

Artist: Angá
Title: Echu Mingua
Label: World Circuit / Nonesuch
Genre: int’l
Grade: A

Miguel Díaz, the Cuban conga player nicknamed Angá, is all over the map on Echu Mingua, his first album as a bandleader. He’s had a lot of time to stockpile ideas in his years with the Cuban flagship Latin-jazz group Irakere and with the Afro-Cuban All Stars, and one result is an album that wants to mingle everything from Malian lute to old-fashioned Cuban danzón to Santeria chants to hip-hop. Some tracks are overstuffed—particularly with samples of dialogue—and not every experiment works. But all tallied, Díaz is a virtuoso, and the disc is daring.

Reviewer: Jon Pareles, New York Times “Critic’s Choice”

Artist: Prodigy
Title: Their Law: The Singles 1990-2005
Label: XL
Genre: electronica
Grade: A+

Even more so than the celebrated Chemical Brothers -- who began recording after Prodigy but received a hits compilation before -- Liam Howlett and co. were fantastic singles artists who also fashioned excellent full-lengths. As such, Their Law 1990-2005, the singles collection that could put the cap on their career, is a collection that will leave listeners breathless but also one that can't capture how special Prodigy were to the electronica and rave scenes. Their biggest single, "Firestarter" (01), comes first, and its LP (The Fat of the Land) gets most of the early slots, although things right themselves by the end with no less than five singles -- all of them incredible -- from 1995's Music for the Jilted Generation and four from 1992's Experience. Including three tracks from 2004's desultory Always Outnumbered, Never Outgunned may help fans hear, for the first time, the best of a bad album. ( 4 ½ stars )

Reviewer: John Bush, All Music Guide

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Saturday, February 18

Blues CD Reviews 2-18-06

Brown, Charles - "Trouble Blues" (St. Clair Entertainment) A
Blues pianist/songwriter/crooner, Charles Brown brought the "cool to urban blues. He's smooth and this is a terrific collection to demonstrate that. Most tunes are slow and soulful (his specialty) and his vocal phrasing is absolutely masterful...and sultry. All tunes but # 5 ("She screws like a spinning wheel") suitable for any mix...very cool. (Cathi Norton)

King, B.B. -- "The Thrill is Gone" (St. Clair Entertainment) B+
A collection of two B.B. eras--when he played with his gigantic big band with all the bells and whistles, and then some early cuts in a small combo. I'm a big fan of the combo years and B.B.'s young voice is compelling. The Big band stuff just isn't my thing, but of course, it's B.B.; it's live; and it's good. Some of the big band stuff highlights the band for three-quarters of the tune before B.B. comes in on vocals. (Cathi Norton)

Memphis Slim -- "Really Got the Blues" (St. Clair Entertainment) B
Blues piano-man John Peter Chatman (Memphis Slim) was a prolific recording star who lived in France after he became really popular there. His vocals are rough and this collection highlights the early blues -- then called sophisticated, no "authentic." Backed periodically by a horn section (neither they, nor Slim, were too particular about tuning) a la J.B. Lenoir, this is a collector's disc. Very interesting, but I'm not sure how accessible it will be--guitarist is cool. (Cathi Norton)

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Monday, February 13

Blues CD Reviews 2-13-06

Big Maybelle - "Same Old Story" (St. Clair Entertainment) A
A forerunner and contemporary of Billie Holliday, Big Maybelle is paid less attention and it's a shame. In these cuts you hear her influence on Billie. She had R & B sewn up and fronts a big band with all the trimmings, still commanding the ear with super expressive vocals. They alternately soar over the top, or smoothly moan for your attention and get it. Good for all mixes and just plain good. Some tunes a little dated, but still well done. Fantastic cover of "Only You" later made famous by the Platters. (Cathi Norton)

Lightnin' Hopkins - "Just Pickin'" (St. Clair Entertainment) A+
If you ever get confused about what blues really is, slap this baby on and remember. Lightnin' Hopkins was a Texas master of blues with feeling and minimum instrumentation. His voice and guitar were enough to hold entire all night dance parties. Soul-drenched with occasional backups by a single snare drum or bass, sometimes with partner "Thunder" Smith (piano) from whence he originally got his "Lightnin'" moniker), and sometimes just on solo guitar. Fantastic disc and good for all mixes. Another in a series of "Genius of Blues" discs being put out by St. Clair. (Cathi Norton)

Bill Wyman's Rhythm Kings -- "Live" (Fuel) A-
Former Rolling Stones bassist has many guests to help with this live set, improving what Wyman can sing himself. (Bob Kissel)

Nighthawk Band -- (Self Titled) (Nighthawk) C-
Bad garage blues rock -- not recommended. (Cathi Norton)

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Friday, February 10

newest latest on the caravan tip

hi all....here are four new reviews of discs i'll have in to the airroom quick-like. three rough guide compilations for your perusal: top honors go to BHANGRA DANCE, although URBAN LATINO has great moments too....less to be excited about on the ISRAEL set....APACHE INDIAN returns with enough gems to allow us to overlook the clunkers....keep an eye out for new LUNASA in the airroom, too.....

Artist: v / a
Title: The Rough Guide to Bhangra Dance
Label: WMN
Genre: int’l
Grade: A

The term bhangra dance is almost redundant, as it was originally a folk dance style that's evolved through Western instruments into something that packs the dancefloors in clubs -- though still marked by the beat of the double-headed dhol drum. But plenty of styles come under the umbrella of bhangra, as this compilation ably shows. There's the R&B of Veronica (06) that wouldn't sound out of place in America, the almost indie rock of Manak-E (10), the more traditional acoustic sound of Madan Bata Sindhu (11), or the neo-Bollywood beat of Malkit Singh (07), who's been a bhangra star for two decades. The Americans are represented by the raga-bhangra of Soni Pabla (02), while Binder puts a touch of dancehall into "Billo Raneeay" (08). The common factor of the tracks is their danceability, sometimes subtle, sometimes overpowering, as on Daljit Mattu's naggingly infectious "Taweet" (13). Taz (14) offer a poppy bhangra-soul mix with a killer hook, and it all closes with a classic, Panjabi by Nature's "Nain Preeto De" (15) that brings roots and modern sounds together in perfect balance. ( 4 stars )

Reviewer: Chris Nickson, All Music Guide

Artist: v / a
Title: The Rough Guide to Urban Latino
Label: WMN
Genre: int’l
Grade: A-

Think urban music and chances are it's R&B and hip-hop that spring to mind. But that's a thought limited to North America and Europe. Latin music has developed its own urban sound in recent years. Yes, it draws from the sources above, but they're only two facets of the whole. Add in the burgeoning reggaeton genre, rock, ska, and dance music, as well as regional variations from cumbia to samba, and you have the fuel for a very hot fire. This excellently compiled disc explores many of those -- although, as the notes admit, it's not comprehensive. Still, much of what is here is exciting, like Ska Cubano's (06) thrilling, melodic mix of ska and Cuban music, the electronica of Holger Hiller's "Macome" (11), or the massed overdubbed samba percussion of Arakatuba's "Riva" (10). Ska is also a big component here, a beat favored by many bands, like Doctor Krapula (03). What this proves is that urban Latino tastes are far more varied than some other cultures -- and they make a hell of a lot of good music. ( 3 ½ stars )

Reviewer: Chris Nickson, All Music Guide

Artist: v / a
Title: The Rough Guide to the Music of Israel
Label: WMN
Genre: int’l
Grade: B / B-

Listening to the collection, you have to wonder if Israel's music scene is as moribund as it's portrayed. Many of the best cuts, such as those by the Israeli Andalusian Orchestra (10) or Yair Dalal (11), owe a huge debt to Arab music, showing how broad Semitic culture is, but not giving a real clue to Israel's own identity. Granted, Israel is a very young country, but its heritage is ancient. And that history helps two of the best tracks, Chava Alberstein's Yiddish "Margaritkalach" (07) and Yasmin Levy's Sehpardic "Locura" (09), which show two of the major strains of the Jewish Diaspora. Past there, it's difficult to find anything absorbing. Even the late Ofra Haza (02), arguably the biggest international star to emerge from Israel, isn't shown in her best light. It does pick up the energy level a little toward the end with Zehava Ben (13), and closes with Hadag Nahash's hip-hop lite "Kamti" (14), but not enough to redeem the compilation. One only hopes that there's much better material out there. ( 2 ½ stars )

Reviewer: All Music Guide

Artist: Apache Indian
Title: Time For Change
Label: API
Genre; int’l / world reggae bhangra fusion
Grade: B / B+

I finally figured it out: Apache Indian is the bhangra Shaggy. For every song that just cooks, you get another that bends over backwards underscoring how we, like, need peace and unity and stuff. And two that remind us (lest we forget!) what a great lover he is. Ah well. I particularly recommend “Tere Toor” (14) and “Selecta!” (15)—if the other 17 songs were this tight, Apache Indian would flat out rule. Interested parties might check out the updated version of “The Israelites” (01), which features Desmond Dekker on vocals.

Reviewer: bjorn ingvoldstad

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Monday, February 6

Alt Rock GD Activities

Lots of new music into the studio this weekend.

New CDs placed in alt-rock section of GD picks tower:
-Destroyer, Destroyer's Rubies
-Strokes, First Impressions of Earth
-Motion Pictures, s/t

Moved to Pond:
-TMBG, They got Lost
-Beastie Boys, Solid Gold Hits

Direct to Pond:
-Paul Weller, As is Now
-The Exit, Home for an Island
-International Noise Conspiracy
-Ministry, Rantology
-The 88, Over and Over
-The Noisettes, Three Moods of...

Enjoy!

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Saturday, February 4

reggae (2), mainstream (2), electronica (1)

hi all....here are a few more goodies that i'll try to get in today....yee gods this means i might actually be at the monthly meeting....nevertheless we press on.....the biggest news by far are the two reggae discs, already highlighted on reggae children....THE BEST OF STUDIO ONE & FULL UP: MORE HITS FROM STUDIO ONE are both re-issue gems.....Knock on wood, Mark R is going to get the instrumental set in this week as well, completing the trinity....errr, trilogy....otherwise, old friends RIC OCASEK and BRIAN SETZER are good enough not to embarrass we programmers of a certain age that might be interested in such things....and IDIOT PILOT do a convincing dancefloor mope rope-a-dope.....enjoy!

Artist: v / a
Title: The Best of Studio One (re-issue)
Label: Heartbeat
Genre: reggae
Grade: A+

Clement "Coxsone" Dodd ran Studio One, one of the best and most influential Jamaican recording studios in the 1960s and 1970s. From its production booth he essentially presided over the transition from rock steady to reggae, and artists as famous as Bob Marley, Burning Spear, and Dennis Brown recorded some of their earliest work under his supervision. This excellent collection of singles makes a solid case for Dodd's primacy among reggae producers of the period: "Melody Life" (14) by Marcia Griffiths and "Party Time" (12) by the Heptones remain two of the reggae's most loved standards; other highlights on this album include Larry Marshall's immortal "Throw Me Corn" (13), "Row Fisherman Row" (18) by the Wailing Souls (presented here in an extended version), and The Termites' slightly eerie take on the aching "My Last Love" (16). ( 5 stars )

Reviewer: Rick Anderson, All Music Guide

Artist: v / a
Title: Full Up: More Hits from Studio One (re-issue)
Label: Heartbeat
Genre: reggae
Grade: A

This is the second volume of classic cuts from Coxsone Dodd's legendary Studio One label. The majority of the tracks date from the rocksteady era well into the roots age, although a couple bookend these periods, and the set bounces across the years and genres. Skanking nimbly between established legends and a number of now mostly forgotten stars, hits, and rarities, every inclusion is a delight. The original version of Willie Williams' "Armagideon Time" [08] (which the Clash later made their own), the debut single from Culture (10), and the Sound Dimension's instrumental title track [09] (versioned by the Mighty Diamonds and then covered by Musical Youth for their U.K. hit "Pass the Dutchie") are all of particular note. ( 4 ½ stars )

Reviewer: Jo-Ann Greene, All Music Guide

Artist: Ric Ocasek
Title: Nexterday
Label: Sanctuary
Genre: mainstream rock
Grade: A- / B+

Ocasek plays nearly every instrument himself and maintains an appealingly relaxed vibe for the entirety of this 11-track album. While he doesn't necessarily stretch himself here, he doesn't sound as if he's resting on his laurels, either. The songs are lean and well constructed, the production is uncluttered yet with enough subtle details to keep things from sounding samey. There's no denying that Nexterday is deliberately made on a small scale: not only is it essentially homemade, but the songs are minimalist pop -- they're catchy, but the clean lines and quiet nature of the production requires active participation from the listener. At this point, some 20 years after the peak of the Cars' popularity, Ocasek's audience is small and faithful, willing to take the effort to get to know a new record, and once they spend some time with Nexterday, they'll find this is another charming, ingratiating, low-key record from an artist whose solo career has pretty much been devoted to charming, ingratiating, low-key records. (3 ½ stars)

Reviewer: Stephen Thomas Erlewine, All Music Guide

Artist: Brian Setzer
Title: Rockabilly Riot! A Tribute to Sun Records
Label: Surfdog
Genre: mainstream rock
Grade; A

The concept is stated in the title and the execution is about what you'd expect from one of the most popular rockabilly revivalists in contemporary music. It's not much of a stretch for Stray Cat Brian Setzer to take a break from writing his own rockabilly tunes that often sound like classic Sun material anyway, but by narrowing his focus roughly from 1954 to early 1957 and sticking with music produced by the king of country music record labels, he scores credibility points. These versions are refreshingly stripped down, with standup bass, skeletal drums, acoustic piano, and occasional sax providing all the instrumental excitement. Even Setzer's fiery guitar solos are lean, mean, and never dominate the songs. He's in terrific form throughout; clearly his heart is in it and it sounds like he's having a blast. (4 stars)

Reviewer: Hal Horowitz, All Music Guide

Artist: Idiot Pilot
Title: Remixes from Strange We Should Meet Here
Label: Reprise
Genre: electronica
Grade: A-

Not quite clear what makes Idiot Pilot mope about, but vocal remix versions of “To Buy A Gun” (01) and “Moerae” (03) are both convincing. Imagine if early Cure was into electronica, and you’re not far off. If you’re looking for an instrumental track, I’d go back to “Moerae” (06) once again—moody in an Obital sort of way.

Reviewer: bjorn ingvoldstad

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