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Tuesday, October 24

WFHB ADDS 10/17

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CATCHING UP FROM LAST WEEK...

DATE: 10.16.06
ARTIST:Shawn Colvin
TITLE: These Four Walls (Nonesuch)
GENRE: FOLK/SS
GRADE: B
REVIEW: Five years between albums is not unusual for Shawn Colvin. Yet while These Four Walls finds her on a new, good-match label, nothing much else has changed. Austin's premier pop diva teams up once again with longtime collaborator John Leventhal (Mr. Rosanne Cash), and besides producing, he's a virtual one-man band, playing bass, Dobro, guitar, mandolin, percussion, pedal steel, keyboards, and being co-writer on 10 of the album's 13 tracks. Reflecting her past work, Colvin skirts obvious meanings, but the bulk of These Four Walls seems to ruminate on middle age, which matches up with the local singer-songwriter having turned 50 earlier this year. The album's first five tracks are terrific, opener "Fill Me Up" an inordinately sunny bit of passive-aggressiveness. The gently lilting title track submits to living day by day, while the strident "Tuff Kid" flirts with country rock. The appropriately dreamlike "Summer Dress" and scintillating "Cinnamon Road," with vocal appearances by Austin's other contemporary folk queen, Patty Griffin, as well as Marc Cohn, are even better. Sadly, the disc then wades into self-consciousness with cookie-cutter tunes like "I'm Gone," "So Good to See You," and a pair of covers, Paul Westerberg's "Even Here We Are" and the Bee Gees' "Words," which seem more like filler than an attempt to break down barriers.
RECOMMENDED TRACKS: 1,2,3,4,5
REVIEWER: austinchronicle.com

DATE: 10.16.06
ARTIST:Various Artists
TITLE: The Harry Smith Project (Shout Factory)
GENRE: FOLK
GRADE: A+
REVIEW: some basic info from pitchfork news:The late Harry Smith, renowned musicologist, filmmaker, and painter, will be soon receive the tribute treatment with a four-disc box set titled The Harry Smith Project: Anthology of American Folk Music Revisited, due October 24 on Shout! Factory. The two-CD/two-DVD collection draws performances from Wilco, Beck, Lou Reed, Nick Cave, Beth Orton, Richard Thompson, David Johansen, Steve Earle, and more. In addition, it holds a new documentary on Smith's continuous influence on contemporary music, as well as three of his short films. The tracks, drawn from concerts staged by Hal Willner (who also compiled and produced Revisited) at London's Royal Festival Hall (1999), Brooklyn's St. Ann's Center (1999), and Los Angeles' Royce Hall at UCLA (2001), take inspiration from Smith's six-LP Anthology of American Folk Music. Released in 1952, it introduced listeners to artists such as Mississippi John Hurt, the Carter Family, Robert Johnson, and Blind Lemon Jefferson.

COMMENTS: This 2-CD set is part of the above-mentioned box set, and it's a wild and wooly ride. Some of the interpretations are very near matches to the originals, others take creative liberties. Both sides of the equation show the resiliancy of this material. JM/WFHB

RECOMMENDED TRACKS:
CD 1: all tracks, but note that 11, 12, & 13 are more experimental)
CD 2: all tracks, but note that 9, 10, 11, & 12 are more experimental)

DATE: 10.16.06
ARTIST:Amy Millan
TITLE: Honey from the Tombs (Arts & Crafts)
GENRE: FOLK/SS
GRADE: A
REVIEW: Before she became the shimmering voice of Canadian indie heroes Stars, Amy Millan lived with members of bluegrass band Crazy Strings and it's her old roommates' influence - and presence - that shines through her debut solo album. Her themes of love, loss and loneliness, are nothing new, and nor are the songs, written between 1990 and 2000. But Millan has never sounded more enchanting or as exposed, oozing resignation as she relinquishes her grip in Losing You, woozily sinking to the bottom of a glass in Pour Me Up. The warm bluegrass of Blue in Your Eye sounds like a Be Good Tanyas gem, while the rocky sensuality of Skinny Boy stems from her day job.Pop fans will think it's a country album, country purists will deem it pop and contributions from friends in both Stars and Broken Social Scene adds a conflicting rock slant. What's not in doubt is that Millan makes it work.
RECOMMENDED TRACKS: 1, 2, 7, 8, 11, 12

DATE: 10.16.06
ARTIST: Now It's Overhead
TITLE: Dark Light Daydream (Saddle Creek)
GENRE: ROCK/ALT
GRADE: A
REVIEW: Andy LeMaster. Orenda Fink. Maria Taylor. This other guy. The combination of these elements creates the band known as Now It's Overhead. Of course Maria Taylor and Orenda Fink are the components of Azure Ray, and in this particular instance they assist in vocal duties along with some bass and piano stuff. But the real genius here is LeMaster, who is a multi-instrumentalist and incredible sound engineer who has not only been a part of the Bright Eyes touring band, but has also helped notable bands like R.E.M., Drive-By Truckers and Coldplay's Chris Martin record tracks and albums. Anyways, Now It's Overhead has been around since 2001, and as a collective there have been 2 albums released, including 2004's "Fall Back Open" which was met with critical acclaim. If LeMaster has anything to say about it, the band's new album "Dark Light Daybreak" (out Sept. 12th) will be an even more incredible accomplishment. Personally I think it might just be the album that gets the band the proper notice and popularity it really deserves. For the uninitiated, Now It's Overhead has a really interesting sound that's reminiscent of a dreamscape full of synths and wandering guitars. As LeMaster says himself about the new album, this is more akin to "waking up" than "dreaming," and I couldn't agree more. From the very start of the album, it feels just like waking up in the morning well-rested after a long night of sleep. It's a great feeling.
RECOMMENDED TRACKS: 1, 3, 5, 7, 9
REVIEWER: from a blog called fahronheit

DATE: 10.16.06
ARTIST: Ben Kweller
TITLE: Ben Kweller (ATO)
GENRE: ROCK/ALT
GRADE: A -
REVIEW: Life does funny things to people. One-time Radish frontman Ben Kweller's new release Ben Kweller is tender, fragile and devoted. This is Kweller’s most complete-sounding long-player yet, a fully-formed entity whereas his previous outings skipped playfully from one feel to the next. Combining touches of Ben Lee and Evan Dando in the songwriting and Ben Folds in its piano-heavy approach, Ben Kweller is highly sentimental, full of philosophical reflections of days gone by and the way life unfolds. Self-proclaimed masterpiece ‘Thirteen’ is a prime example of the former. The more upbeat ‘Penny On The Train Track’ tells of the reunion with a mischievous high-school friend, now a policeman, and the realisation that everyone, everywhere, is growing up. If there’s a criticism to be made of Ben Kweller, it's that it might be a little too straightforward in places, maybe even a little samey. A high percentage of its eleven songs are ballads or just slower numbers, rarely deviating from the path they initially set out on. The new, ‘mature’ sound is a pleasant addition to the Kweller arsenal, but after a while you yearn for a twist to the standard time signatures or a satisfied yell, something – anything - to show us that Kweller has mellowed because he wants to, and not because he’s forgotten how to do anything else. It arrives, eventually, on the final track ‘This Is War’, a gritty, grimy, foot-stomping rock number from the days of On My Way. Its placing at the album’s climax is like a final venting of rock ‘n’ roll steam, one which is contained throughout the album until the last chapter. It’s a just reward for those who prefer his more uptempo moments. You’d be hard pushed to argue that Ben Kweller is anything other than a beautiful, touching collection of songs, and one which marks an important rite of passage in one man’s career, even if it doesn’t always feel like his best work.
RECOMMENDED TRACKS: 1, 2, 3, 6, 8, 11
REVIEWER: drownedinsound.com

DATE: 10.16.06
ARTIST:Piers Faccini
TITLE: Tearing Sky (Ever Loving)
GENRE: FOLK/SS
GRADE: A+
REVIEW: I listen to music all the time. It's my job. Sometimes even good-to-great music sounds ho-hum to my weary ears. Then I get to listen to something totally unfamiliar that stops me in my tracks. Like this CD. Don't know much about the guy except what I hear, and what I hear is someone with a deft touch on the guitar, a pretty amazing voice (expressive with tonal slides and trills) and an organic fusion of britfolk, west african blues and a strong buckley influence (tim and jeff both). Very acoustic in instrumentation and recording tone, most songs laid back on the surface but taut and energetic below. Each song unfolds with beauty, with no sound out of place.
RECOMMENDED TRACKS: 3, 4, 6, 8, 9, 10, 13, 14
REVIEWER: Jim Manion/WFHB

DATE: 10.16.06
ARTIST: Bobby Bare Jr.
TITLE: The Longest Meow (Bloodshot)
GENRE: ROCK/ALT
GRADE: A+
REVIEW: The son of a Nashville Row country-music legend, the younger Bobby Bare has been turning out his own albums for years now, but it is here that he really comes into his own, mastering the album as art form top to bottom. Assembling a mighty cast of friends and fellow musicians (including My Morning Jacket's Jim James and Lambchop's Deanna Varagona), Bare set about to record a loose, rollicking album, and "The Longest Meow" succeeds on both counts. Beginning the album with the moody prelude "Bionic Beginning," which quickly segues into "The Heart Bionic," Bare brings out the big guns early, pulling us into his fantasy world. Bending and blending genre and convention, swaying from folker-whimsy to the multi-guitar attack of the outstanding "Borrow Your Cape," it is evident Bare's muse is both versatile and constantly in flux. On this album's second-to-last track, he goes so far as to offer a stripped-down, soulful take on the Pixies' alt-rock classic "Where is My Mind." Cast aside the misappropriated early career descriptions of Bare Jr. as an alt-country bard. Like Ryan Adams, Bare has no interest in genre prisons, and "The Longest Meow" sets about redefining both expectations and what it means to be an independent solo artist in the 21st century, flying well below the radar of popular culture. "The Longest Meow" is certainly in contention to be one of the greatest roots-rock driven albums of the year.
RECOMMENDED TRACKS: 2, 3, 5, 6, 10, 11, 12
REVIEWER: livedaily.com

DATE: 10.16.06
ARTIST: The Blow
TITLE: Paper Television (K)
GENRE: ROCK/ALT
GRADE: A+
REVIEW: A new album by THE BLOW, K records cult popsters. 'Paper Television' is mischievously sassy, morphing electronic pop with verve, soul, humour, lashings of fresh hooks, furiously forward looking production & perfect songwriting. If Psapp were from Portland, Oregon then I think they'd maybe sound a little more like this. It's all in the minimalist approach I think. The songs are centered around clicks, pulses, skittering percussion, schizo bass bloops, manic synth stabs, all the while the twin pronged, street-smart birdsong vocals twist breathlessly around this free, magical music with gleeful abandon. It seems to take it's cue from fem fronted Scando-Indie pop but these two hugely talented ladies shape all the tunes into something really individual & ultimately precious.
FCC: 4 & 6 (BOTH “SHIT”)
RECOMMENDED TRACKS: 1, 2, 7, 8, 10

DATE: 10.16.06
ARTIST: Thrift Store Cowboys
TITLE: Lay Low While Crawling or Creeping (self-released)
GENRE: COUNTRY/ALT
GRADE: A
REVIEW: With open, haunting music reminiscent of the desolate west Texas sky, Lubbock based Thrift Store Cowboys have captivated audiences from coast to coast with their dark, subtle lyrics and a blending of soaring violin draped against bottom-ended guitar and pedal steel sounds that spaghetti Western composer Ennio Morricone might envy. Following in the unique footsteps of a Lubbock legacy started by Buddy Holly, The Flatlanders, and Terry Allen, Thrift Store Cowboys add their own modern influences and flavor to the already rich musical heritage. Their new album, Lay Low While Crawling or Creeping, was recorded at Wavelab Studios in Tucson, Arizona, and produced by Craig Schumacher (Calexico, Iron and Wine, Neko Case.) The album will be released nationally in November 2006.
RECOMMENDED TRACKS: 1, 3, 5, 6, 8, 10, 12
REVIEWER: team clearmont bio

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WFHB ADDS 10/23

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DATE: 10/23/06
ARTIST:The Gothic Archies
TITLE: The Tragic Treasury (Nonesuch )
GENRE: rock/alt
GRADE: A-
REVIEW: Those at all familiar with the works of either Snicket/Handler or Merritt should have a basic idea of what they are getting into when dropping the needle on the first track of the album. The album flows in linear form, starting with the aforementioned "Scream And Run Away" which is attached to the first book in the series The Bad Beginning. Each successive song corresponds to the next entry in the series. Merritt delivers the wry and sinisterly satiric lyrics with a gravelly Solomon Grundy voice dwelling in the empty stomach growling recesses of the lower bass register.This is a tongue-in-cheek boutique project aimed at the hardcore and the curious more than anything. Borrowing heavily from the quirky elements of klezmer, Kurt Weil, and German cabaret, Merritt and Snicket/Handler have crafted a musical world that whimsically compliments the snarky, mothic (that would be mock gothic), and thoroughly twisted world of the Beaudelaire orphans.
RECOMMENDED TRACKS: Definitely Download:
1. "Scream And Run Away", 2. "Dreary, Dreary", 3. "This Abyss",
4. "Crows", 5. "Freakshow", 6. "How Do You Slow This Thing Down?"
REVIEWER: ign.com

DATE: 10/23/06
ARTIST: Fink
TITLE:Biscuits for Breakfast (Ninjatune)
GENRE: folk/ss
GRADE: A
REVIEW: The largely acoustic Biscuits for Breakfast is probably the least typical release in the entire Ninja Tune catalogue, a surprise until you learn that Fink once laboured at the same synths, beats and scratches coalface for which the label is best known. With a weather eye on changing musical fashions, he's done a nifty volte-face to present himself as a funky folk-blues singer in the mould of Jeb Loy Nichols or G Love. The opener (and debut single) "Pretty Little Thing" is typical of Fink's style: a sparse, stripped-down funk groove of acoustic guitar, rimshots and an intermittent tremor of organ behind his languid, bluesy vocal; it's warm and welcoming without placing too many demands on the listener. Elsewhere, the occasional curlicue of slide guitar adds subtle detail to a cover of Alison Moyet's "All Cried Out", and a restrained ripple of piano underscores "Biscuits", Fink's account of the brain-numbing drudgery of his time as an office tea-boy. There's an understated charm about the album which recalls Seventies predecessors such as John Martyn and J J Cale: while Fink's not in the same virtuoso class as a guitarist, there's a steady, calm centre to his work that echoes their sultry, laidback manner.
RECOMMENDED TRACKS: 1, 4, 5, 6, 8
FCC: 9 (“FUCK”)
REVIEWER: independent.co.uk

DATE: 10/23/06
ARTIST:Lloyd Cole
TITLE:Antidepressent (One Little Indian)
GENRE: rock/alt
GRADE: A
REVIEW: After Lloyd Cole's twentysomething years of making music, first with his band the Commotions and then solo, his career had become somewhat rote — an album every couple of years, but nothing that seemed especially inspired. His latest disc changes that perception; it's a stirring set of songs. The title track establishes the scenario: a narcotic confession that touts the advantages of chemical supplements as a cure for dysfunction. Leadoff track "The Young Idealists" is equally inspired and just as descriptive in its reflective tale of optimism subverted by the realities of career and commitment. Yet, despite the guarded sentiments, the music is surprisingly seductive, from the lovely strings and acoustic fretwork that underscore Cole's paean to Manhattan, "NYC Sunshine," to the lovely, shimmering piano lines that caress "Slip Away." He even evokes the wandering spirit of Johnny Cash on the sprightly "Traveling Light," providing further assurance that Antidepressant has all the lift it needs.
RECOMMENDED TRACKS: 1, 2, 3, 8, 9
REVIEWER: Lee Zimmerman miaminewtimes.com

DATE: 10/23/06
ARTIST: Mamadou Diabate
TITLE: Heritage (World Village)
GENRE: INTERNATIONAL/AFRICA/MALI
GRADE: A+
REVIEW: While this is not exactly the same band that came to Lotus with Mamadou, it's pretty close and the music is essentially the same – rhythmic and lilting polyrhythmic rhythms and melodies, topped off with the beautifal kora, an instrument with a history of more than 1,000 years. All tracks fairly mellow but also very exciting. Will trigger great Lotus 2006 memories if you got a chance to see him and his band.
RECOMMENDED TRACKS: ALL
REVIEWER: Jim Manion/WFHB

DATE: 10/23/06
ARTIST: Anne McCue
TITLE:Koala Motel (Messenger)
GENRE:FOLK/SS/AMERICANA
GRADE: B+
REVIEW: If you’re of a certain age and inclination, you’ll welcome Anne McCue’s Koala Motel as kin to Pretenders II, Shoot Out the Lights and Rumours. But while some artists boast their influences like a window display at a trendy vintage store, counting the gems on the Australian singer/songwriter/guitarist’s second disc is like walking through an art gallery, with something to delight and intrigue at every turn. There’s the fuzzed-up scrim of her blues guitar on “As the Crow Flies”; the harmonies (with John Doe), reminiscent of Richard and Linda Thompson, in “Driving Down Alvarado”; the plaintive country edge of “Shivers.” On this last track, she’ll remind you a little of Lucinda Williams—not surprising, since Williams’ crony Dusty Wakeman co-produced. But where Williams offers frail, frayed edges, McCue sounds like her alto just came out of God’s workshop. She’s confident, polished, smart and Koala Motel is wholly original—and indelible.
By Pamela Murray Winters
RECOMMENDED TRACKS: 1, 2, 4, 9, 10, 12
REVIEWER: harp magazine

DATE: 10/23/06
ARTIST:Guy Clark
TITLE: Workbench Songs
GENRE: folk/ss
GRADE: A
REVIEW: The title of this album would seem a tad precious applied to the releases of the majority of Nashville musicians. But Guy Clark--song craftsman, guitar builder--has been doing such finely measured work for all of his storied career that "Workbench Songs" aptly sums up the pride and precision he brings to these 11 offerings. Joined by cowriters Darrell Scott, Rodney Crowell, Gary Nicholson, Lee Roy Parnell, and Verlon Thompson, Clark is at turns wry and poignant in chronicling human acts great and small. And, as usual with his albums, a number of these songs resonate long after first listen. "Walkin' Man," a Celtic-flavored demo recording which kicks off the set, pays homage to the pilgrims and searchers--Gandhi and Woody Guthrie--who had the courage to make their own path. "Out in the Parkin' Lot," the Darrell Scott collaboration which Clark recorded on 1997's live Keepers, has a more lived-in feel here, and better captures the novelistic scene of roadhouse rowdiness. Clark knows how to deliver these gems with optimum emotional impact: His cover of Townes Van Zandt's aching "No Lonesome Tune" goes bone-deep despite its underplayed pathos, as does "The Randall Knife"-ish "Funny Bone," about a rodeo clown brought down by faithless love. But he's no less affecting on "Tornado Time in Texas," a jaunty country-blues tune spiked with a shuffle chorus, or on "Cinco De Mayo in Memphis," a wildly surrealistic snapshot of Mexican deckhands in the blue-suede-shoes territory of Graceland. Last year, the Americana Music Association honored Clark with its Lifetime Achievement Award for Songwriter. This album is further proof that he deserved it.
RECOMMENDED TRACKS: 1, 5, 6, 7, 8, 9 fcc: (“shit”)
REVIEWER: -Alanna Nash amazon.com

DATE: 10/23/06
ARTIST: Alela Diane
TITLE: The Pirate's Gospel
GENRE: folk/ss
GRADE: A
REVIEW: In the 11 songs of Alela Diane's debut album, The Pirate's Gospel, there is barely a reference—musically or otherwise—to the past decade. Or the one before that. Or before that, for that matter. She's written the sort of timeless, abstract songs that are endangered or extinct outside of folk music, and are still rare within it. This isn't to say that there's anything like oblivion on this record. Diane has an amazing gift: The ability to fill anyone's shoes but her own, hanging her sparse forest folk songs on beautiful and honest little snippets of a world based on shared sense and feeling. This sense of communal expression carries throughout the music as well. Her voice—a boundless throat tempered by an obvious humility and creeping tendrils of vocal smoke—channels (in the immediate) hipster ironists CocoRosie, but if there's any justice will fall closer to Jolie Holland or Billie Holiday as a cultural imprint. Overall, the album is filled with an extremely self-aware traditionalism that, in the hands of such a talented songwriter with a keen sense of timelessness, is, at least, refreshing. It's amazing this is a debut album from a 22-year-old songwriter. But, again, for Ms. Diane, youth and time are meaningless things. In what may be a rare moment of wearing her own shoes, she opens wide the record with the line "punish the youth from my eyes." Not too fast, though. Please.
RECOMMENDED TRACKS: 1, 2, 3, 5, 7, 10
REVIEWER: MICHAEL BYRNE Willmette Weekly

ALSO ADDED:
Summer Hymns Backward Masks Misra
Wayne Hancock Tulsa Bloodshot
Frida Hyvonen Until Death Comes Secretly Canadian

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Sunday, October 22

CD Reviews--Cathi 10-22-06

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Dirty Dozen Brass Band – “Collection” (Shout Factory) A-

A fine collection of New Orleans jazz and Cajun music, a sort of jumped-up “Preservation Hall” sampler of music with a funky slant. The music bristles with expert musicianship, with horns, a big tuba and even Dizzy Gillespie on a wonderful scat-laced, jumpin’ tune. Can’t go wrong here, even if you’re not taken with that big horn sound. The players are just too good to miss. Mostly instrumental but a few vocals to break up the routine.

Various – “Blind Pig’s 30th Anniversary Collection” (Blind Pig) A

This is a pretty good collection from a variety of Blind Pig artists. I’m not much for some of the rockers on the disc, but there are more than enough really good tunes on the double-disc set to atone. Smooth blues with Arthur Adams and B.B. King, right on up to Albert Cummings rocker-blues, etc. Some old timers like Jr. Wells and Buddy Guy’s “Hoodoo Man Blues” are worth the price of admission. Can’t really go wrong.

Various – “Sugar Hill Retrospective: Sampler” (Sugar Hill) A**

Wow…this is a great collection of fine tunes from the acoustic music label with pretty high standards. I loved it. It’s hard to find fault with such variety of adept musicianship. I cranked up the computer and bought the whole 4-disc compilation. I liked the whole thing. That hardly ever happens. Try any of them.

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Sunday, October 15

Blues Reviews 10-15-06

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Fremonts – “Mighty Crazy” (Wooden Monkey) C

Another case of a mediocre band pulling an old black guy in to do some decent black-guy vocals. Nothing too special.

Hellhounds – “The Hellhounds” (Deltabilly Records) F

Hellhounds—I believe it.

Owens, Calvin – “Ain’t Gonna Be Yo’ Dog No ‘Mo” (Sawdust Alley Rec.) B-

Calvin Owens puts on a new record every time the wind blows…his orchestra’s got a plum thing going. This time he invites Tommy Castro, Hamilton Loomis, Jabo, etc. to join his regular vocalists like Trudy Lynn and Gloria Edwards, to put some punch into the collection of big-band blues. Great for big band lovers who like a blues mix.

Payne, Jackie/Steve Edmonson – “Master of the Game” (Delta Groove) – B+

Old-timer Jackie Payne puts the mojo on vocals while Steve Edmonson does some tight-though-slightly-rockish guitar work on this great bar-blues set. Interesting combination of soul voice, rock guitar and sometimes big-horn backup. Lots of good music, but nothing stellar.

RJ & the Imperatives – “Hurricane Season” (Martha Music) D

One hopes a large storm will come take this one away

Thompson, Lil Dave – “Got To Get Over You” (Electro-Fi) B

A good guitar player who lays it on thick with guitar gym. Pretty nice band; most tracks kind of bar-worthy, not much fodder for morning mix. Definitely a guitar player’s blues album. Tube Screamin’ without the tube screamer pedal.

Various – “Time Brings About a Change” (HighJohn Rec.) A-

A collection of tunes and artists to honor Floyd Dixon (1929-2006), a great blues/piano player who inspired many a player. The collection includes tunes by Dixon himself, and by a group of greats who gathered at Phoenix’s “Rhythm Room” club to play a live gig of his tunes and record it. Great musicians: Kid Ramos more than greatly holds down guitar chores while joined by Kim Wilson, Henry Gray, Richard Innes, Larry Taylor, Fred Kaplan, Pinetop Perkins, etc. etc. A really nice celebration and overall joyful sound.

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Tuesday, October 10

WFHB ADDS 10/2 & 10/9

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DATE: 10.2.06
ARTIST:Beck
TITLE: The Information (Interscope)
GENRE: ROCK/ALT
GRADE: A-
REVIEW: With Nigel Godrich in the booth for the third time, Beck spent over three years crafting the songs for The Information. Gone, almost completely, is the love-nausea of Sea Change. In its stead, Beck goes back to the mangled, junkyard pop of his youth, mixing broken-porch funk and beat-patterned shout-alongs into an album far more groove-oriented than even the underrated Guero. These songs, almost across the board, are bound to their bottom, as Beck uses his ear for antique nouveau to create the sort of astonishingly simple but hypnotic rhythms that he’s been patterning since Mellow Gold. “Elevator Music” and “No Complaints” fume with smokehouse funk, crashing, churning bits of Odelay-themed bass-pop. “Nausea” is perfectly titled: a woozy, jungle-tangle of clanging cow-bells and stiff bass amidst monkey-voices and a cloying multi-tracked chorus, while “Think I’m In Love” finds Beck shyly reacquainting himself with love over a thicket of pianos, strings, and a paperbag writer’s bass. “New Round”’s frail beauty is a shot in the arm for Beck here; acoustic guitars flicker with trampled heart tones and a subtle drum pattern-knowingly nudged to the back—as he hums fractured couplets about chain-link winds and blackboard nights. More than with either Mutations or Sea Change, you can hear Godrich’s rich instrumental layering beneath the rhythms. A perfect headphone album, strings, shards of voice and singing, simmering static, harmonica, synths, and bell-toned electronics seem to almost collapse into their places. Sometimes, these deep interludes and bridges distract from a song’s central melody however (as on the otherwise fantastic Headhunters-jive of “Cell Phone’s Dead”) and threaten its composition, but typically they serve instead as interesting flourishes.
RECOMMENDED TRACKS: 1, 2, 7, 10, 12, 14 FCC:3 (SHIT)
REVIEWER: excerpt from stylus.com

DATE: 10.2.06
ARTIST:Robyn Hitchcock
TITLE: Ole! Tarantula (Yep Roc)
GENRE: ROCK/ALT
GRADE: A+
REVIEW: Olé! Tarantula sounds like a trip back to the iconic singer/songwriter's early A&M days. Long, Byrds-inspired harmonies, jangly electric guitars, and random bursts of piano, harmonica, and saxophone pepper the collection in fits, seasoning Hitchcock's already delicious wordplay with exactly the right amount of spice. Opener "Adventure Rocket Ship" sounds like a lost track from Underwater Moonlight, the kind of confident psychedelic rocker that used to spill from the anti-bard's leafy pen like battery acid in the early to mid-'80s. That confidence coupled with the tight, road-ready band vibe permeates Tarantula's swollen belly, allowing only one or two forays into the esoteric balladry that has become the norm for the artist's post-Egyptians catalog. With the jaunty "'Cause It's Love (Saint Parallelogram)," co-written by XTC's Andy Partridge, the creepy and dissonant "Red Locust Frenzy," and the impossibly ridiculous title cut, the former "Man with the Light Bulb Head" has distilled the best of each of his eras into one big shambling creature. Lyrically, he's still obsessed with crabs, eggs, tomatoes, and things that are fleshy, furry, and spindly, but his greatest strength has always been his ability to toss a clear nugget of profundity into his most surrealist rants.
RECOMMENDED TRACKS: 1, 2, 4, 5, 6
REVIEWER: allmusicguide.com

DATE: 10.2.06
ARTIST:Mindy Smith
TITLE: Long Island Shores (Vanguard)
GENRE: FOLK/SS
GRADE: A
REVIEW:Long Island Shores doesn't exactly take Smith to new places -- she remains perched firmly between mainstream and daring -- but it's as solid an effort as her debut and confirms that the level of talent it displayed was no fluke. On Long Island Shores, Smith never succumbs to the clichés of craftsmanship or production that mar so many contemporary efforts within the genre. Although her tunes are relatively free of edge and quirk and her voice is naturally tender and crystalline, the vulnerability and honesty in her words and delivery elevate her quickly from novice to confident veteran. Smith is willing to explore and unafraid of intimacy. In the heartrending title track she longs for a family reunion that can never be, and the intimate soul-baring detail of "Peace of Mind" is confessional songwriting at its best: "I need peace of mind and a lullaby/'Cause there is an angry voice in my head tonight/Telling me to do things that can't be right." Though there is a seriousness to much of her writing, it's not all meant to weigh heavily: "Tennessee" is a love letter to her adopted home, and both love (of the non-religious/non-geographic sort) and loss find themselves the center of attention in tracks like "Edge of Love," "You Know I Love You Baby," and "What If the World Stops Turning?" It remains to be seen whether Mindy Smith will emerge as a major player, but there's no sophomore jinx here. Though some might find it on the meek and lightweight side, many more will likely revisit Long Island Shores again and again.
RECOMMENDED TRACKS: 2, 3, 5, 7, 9, 12
REVIEWER: allmusicguide.com

DATE: 10.2.06
ARTIST: The Black Keys
TITLE: Magic Potion (Nonesuch)
GENRE: ROCK/BLUES
GRADE: A
REVIEW: Magic Potion is gritty, raw, immediate and sludgy. It was recorded at the band's studios in Akron, and the only real difference is that they've become even better at what they do. Here are 11 tunes rooted in blues and riff-heavy rock, with only guitar and drums ripping through them like a loose power cable in a thunderstorm. Check out the wildly rockist riff that is at the heart of the album's opener "Just Got to Be," or the wily shambolic blues in "Your Touch." If anything, Magic Potion reminds the listener of the late great Red Devils King King except they have a deeper country, south-of-the-Mason-Dixon-line feel to them, even on a ballad such as "You're the One," which feels like it's barely being held together by Dan Auerbach's voice, which unifies the guitar and Patrick Carney's drums. "Strange Desire" is an electric-acid-blues moan disguised as a ballad, whereas "Just a Little Heat" inverts the riff from Led Zeppelin's "Little Loving Maid " to offer a wide-open howl of distorted guitar and a slippery snare and cymbals crash. For those who feel that the blues have nothing to offer in the 21st century -- especially electric blues, which has spawned countless cookie-cutter, slick deceptions disguised as the real thing -- Magic Potion should satisfy deeply. Here is a future blues that comes right from the groin of history, reinterpreted through garage rock, alcohol, and rage: just check out "Modern Times." In the slow drawling burn, one can hear Junior Kimbrough's ghost possessing Auerbach. "Elevator" closes the set on a feedback-drenched, minimal Delta blues that has more to do with the cagey antics of Charley Patton and Lightnin' Hopkins -- and R.L. Burnside, too -- than with either the White Stripes or Ronnie Earl. This is vulgar music, completely unsentimental or nostalgic but with a deep, wild, and tenacious heart; it's spooky, un-caged, and frighteningly descriptive of our time and place. It's been a long time since the majors put out a record this savage. This is the door to the blues in 2006; hold on to your hips because they will begin to twitch.
RECOMMENDED TRACKS: allmusicguide.com
REVIEWER: 1, 2, 3, 4, 6, 7, 9, 11

DATE: 10.2.06
ARTIST:Grayson Capps
TITLE: Wail and Ride (Hyena)
GENRE: FOLK/SS
GRADE: A-
REVIEW: Capps is not an observer, he's a participant. He's too gritty to really be American Gothic, but he has no idea what year it is, either. Grayson Capps plays a very strange and particular kind of weird country and blues music. It encompasses many American styles, whether he can name them or not. There are nasty acoustic guitars that delve into country when it was country & western, touch on the old modal blues, and then spit out some honky tonk, funky soul, and rock & roll -- all underneath a singer who keeps going on and on about all these people who are busted up, brokenhearted, lost, abandoned, who refuse to accept the hand that's been dealt them, always holding out for one tiny glimmer -- like he's using his one last dime in the hope that this time, the girl down at the end of the bar will notice him. You already know how the story ends, but that hardly matters. "Daddy's Eyes" has the kind of sorrow that only someone who has lost something can hold close, and his observations about the Mason-Dixon line are curious. Trina Shoemaker's backing vocals underscore the tenderness in the tune "Give It to Me," it's a pumped up, funky and twisted love song to a whore, complete with tinkling upright piano and skittering snares and cymbals -- at least until the electric guitars make it a rocker. "New Orleans Waltz" is a bit clumsy lyrically, too full of images and longing and heartbreak about wanting something that is the living proof that nothing lasts forever. But then, having made his home on S. Front Street (literally) for 20 years and losing it to Katrina, he's got a right to be busted up about it, doesn't he? Take the title track and the story it tells of desperation played out between two people to the accompaniment of a Wurlitzer and a pair of guitars on the chooglin blues tip (Guthrie Trapp is a badass picker), and the slippery drums and percussion that carry that beat all the way home. "Poison" is a song that Commander Cody would kill to have written and Dr. John should cover if he ever gets hungry for his music again. "Broomy" is an off-kilter country blues with some other stuff tossed in. But the last two tracks, "Cry Me One Tear," and "Waterhole Branch," are worth the price of thew whole album -- the latter could have been used in the film Jesus' Son. Wail & Ride is a winner. Old Joel Dorn and his Hyena label have some new tricks up their sleeve, but this guy is the jewel hidden in the coal.
RECOMMENDED TRACKS: 1, 3, 4, 5, 6, 8, 11, 12
REVIEWER: allmusicguide.com

DATE: 10.2.06
ARTIST: The Be Good Tanyas
TITLE: Hello Love (Nettwerk)
GENRE: FOLK/SS
GRADE: A
REVIEW: Frazey Ford, Samantha Parton and Trish Klein harmonize like opposing weather systems, they've all got the same goods but there's a little bit of pushback going on that helps keep things dangerous. For the most part, the ladies have chosen not to stray too far from their plainclothes rootsy sound, and while that may disappoint some fans, there's enough quality stuff here to light a fire in every train yard oil drum from Vancouver to Halifax. Hello Love works best when the whole gang pipes in, and a choice cover of Neil Young's "For the Turnstiles" delivers that effect in earnest. Tight, bluesy harmonies that are as spooky as they are lovely paint a picture of utter desolation that sounds as good turned up real damn loud as it does crackling through an old Victrola. Other covers, like fellow Canadian folkie Sean Hayes' "A Thousand Tiny Pieces," Mississippi John Hurt's "Nobody Cares for Me," and a rendition of the old gospel number "What Are They Doing in Heaven Today" resonate as well.
RECOMMENDED TRACKS: 2, 3, 5, 8, 9, 11, 13
REVIEWER: allmusicguide.com

DATE: 10.2.06
ARTIST:Michelle Malone
TITLE: Sugarfoot (Valley)
GENRE: FOLK/SS
GRADE: A
REVIEW: Atlanta-based Michelle Malone follows up her successful return-to-roots Stompin' Ground release from 2003 with another slab of gritty, boot-scootin' Southern folk-rock, Sugarfoot. Malone is no sellout and has recorded another tough, no-nonsense collection dominated by rugged, folksy blues-rock. The singer/guitarist/songwriter shifts from tough electric guitar rockers such as "Black Motorcycle Boots" to stripped down, acoustic guitar, brushed drums, and upright bass strummers like the politically charged "Down." On the raw, country blues stomp of "Rooster 44" and "Winter Muscadine" she just needs Linda Bolley's driving, primal drums to power the foot stomping music. The lovely "Leather Bracelet" and "Beyond the Mountain" show that Malone's husky voice is just as powerful on ballads, but it's raging thumpers "Miss Miss'ippi" and the opening "Tighten Up the Springs" that find the artist in her most natural habitat. Co-producer Neilson Hubbard keeps the sound lean and mean, with plenty of breathing room. Malone's raw guitar on "Soul Chicken" captures the backwoods swamp in the song's gritty, funky, chicken pickin'. The singer has rarely sounded better or more passionate. She's confident without an ounce of pretension and seems as relaxed and self-assured as any professional musician who has earned her living on the road for 25 years, much of it as an independent artist. And if the comparatively commercial, arena ready and atypical "Where is the Love" brings some much deserved recognition, she's earned every ounce of it the hard way.
RECOMMENDED TRACKS: 1, 3, 4, 6, 7, 8, 10, 11, 12
REVIEWER: allmusicguide.com

DATE: 10.2.06
ARTIST: Citizen Cope
TITLE: Every Waking Moment (RCA)
GENRE: ROCK/ALT
GRADE: B+
REVIEW: There are a number of artists -- Everlast, G. Love, Mat Kearney -- who, while staying firmly within blues and rock, bring in hip-hop tendencies, with varying degrees of success. Citizen Cope is another one who could be added to that group, although the only "rap" he actually incorporates into his music is relegated to an occasional singsongy, quickly spoken line and some internal rhyme. This, along with the characters he created and sang about, was what won him fans on his first two albums, and it's something he continues onto his next. For Every Waking Moment, however, Cope has a slightly broader approach to his songwriting, telling more abstract stories that aim toward the universal rather than the specific. He has that gruff, world-weary kind of voice that sounds like it's seen a few too many things and had a few too many whiskeys, and the band does a pretty good job of taking a standard bluesy line and embellishing it until it almost shines. The best track on the entire album, in fact, is "Awe," an instrumental, because it allows room for them to show off some of their many influences, and ends up with some nice Latin and blues-tinged acoustic guitar-driven rock. It's nothing extraordinary, but the groove is pretty tight, the horns are clean, and the drums are intricate and fun, and it works well with the rest of Every Waking Moment. Cope's catchy, melodic lyrics are here as well ("I got a Brother named Lee who looks a lot like me/He's got a lot of enemies," he sings on "Brother Lee"), and the album should please fans of any of his previous work. ~
RECOMMENDED TRACKS: 1, 3, 5, 8, 10
REVIEWER: Marisa Brown, All Music Guide

DATE: 10.2.06
ARTIST: Los Lobos
TITLE: The Town and the City (Hollywood)
GENRE: ROCK/MAINSTREAM
GRADE: A+
REVIEW: The Town and the City is the first album where Los Lobos have allowed themselves the same degree of freedom and room to play with their signature sound as they had on Kiko, and the result is a quietly exhilarating experience. The Town and the City is a simpler and more measured set than one might expect from Los Lobos, with a lower quotient of full-on rock, but the band's performances are as tight and sinewy as ever; David Hidalgo offers yet another master class in virtuoso guitar playing (without strutting his ego or boring the listener in the process), and Cesar Rosas remains his perfect instrumental foil. The rhythm section gives the songs a firm backbone and adds welcome color and heft to the music, and the production (by the band, with Tchad Blake and Robert Carranza mixing) makes the most of the interplay between the musicians -- this is music that revels in the spaces as much as the notes, and demonstrates that this is truly a great band rather than just five gifted players. The 13 songs on The Town and the City work within a loose conceptual framework as they ponder the Mexican-American experience both among illegals and folks who were born and raised in the U.S.A., and while Los Lobos are too smart and too talented to sink into melodrama, there's a sense of wonder in the opening tune, "The Valley," and an air of measured dread in the finale, "The Town," which leaves room for a great deal that's both joyous and tragic in the lives of their characters. The Town and the City isn't likely to be the soundtrack for your next party, but it's an exciting and emotionally powerful experience that grows with each listen, and it's hard to think of many bands who, after three decades together, are as willing to challenge both themselves and their audience as Los Lobos do on this album.
RECOMMENDED TRACKS: 1, 2, 3, 4, 9, 11, 13
REVIEWER: allmusicguide.com

DATE: 10.9.06
ARTIST: Califone
TITLE: Roots and Crowns (Thrill Jockey)
GENRE: ROCK/ALT
GRADE: A+
REVIEW: Califone’s latest bears the sounds and influences that graced the group’s 1998 debut EP: acoustic Americana, ragged, enduring melodies seemingly scooped out of some yet-to-be-discovered backwater, rustic turntable rhythms (if turntables can be rustic), lazy drones and Tim Rutili’s drowsy rasp. And the Chicago quartet caps it with its strongest selection of songs yet. But there’s some pop luster rubbed onto some of Califone’s new tunes as well. Thanks in part to a horn section provided by Chicago outfit Bitter Tears, “Spider’s House” is swept out of the clouds and into the sun. “The Orchids,” a love song of sorts, uses a layer of whirrs to underpin fingerpicked bliss and lyrics of rebirth, a nervy move in an era rife with ironic distancing. A track such as “Rose Petal Ear,” with its swampy, minimalist slide guitar and cheap, programmed rhythm would fit snugly onto any of Califone’s earliest releases. The real gem on Roots & Crowns, however, is closer “If You Would.” Rutili’s vocals are nearly draped in a piano line that might’ve been composed by Morton Feldman. As the words ooze out of his mouth like dying last utterances, they’re carried into the wind by humming strings and horns where they’re finally scattered by a few plucked notes before blowing away completely
RECOMMENDED TRACKS: 1, 2, 5, 8, 11, 13
REVIEWER: magnetmagazine.com

DATE: 10.9.06
ARTIST: Sierra Leone's Refugee All Stars
TITLE: Living Like a Refugee (Anti)
GENRE:INTERNATIONAL/AFRICA
GRADE: A
REVIEW: It's impossible to briefly describe the Sierra Leone Refugee All Stars without sounding trite or falling into pathos. How to just mention in passing the forming of a band by a group of artists who between them survived the worst atrocities that man has inflected on his fellow men? A 2002 documentary, The Refugee All Stars, has already captured the group and their lives in a Guinean refugee camp, and two of the songs performed in the film bookend this set. Since then the group has flourished, at least musically. Living Like a Refugee is the All Stars' recording debut, tinged with the trauma of their lives, but in the end an uplifting record that reinforces bandleader Reuben Koroma's abiding belief in the healing qualities of music. And the music is marvelous. It's a heady, happy blend of roots reggae, West African goomba, and American blues. "Smile," the group request, and how can you not, as the group sweetly check off the list of the wicked while also offering a lesson in righteousness? The bubbly "Big Lesson" juxtaposes the bad and the good, a not surprisingly recurring theme in the group's lyrics. The Wailers are an obvious influence on the group, but the differences between the two are equally notable, starting with the choral vocals, the African rhythms that sift through the songs, and the upbeat backings that accompany even the most downbeat and angriest of their songs. Add Geassay "Jah Sun" Dowu Bull's blues-styled, fingerpicked lead guitar, and the band really are in a class all their own. Those unfamiliar with the All Stars may expect this album to be an emotionally wrenching experience, but the stark lyrics of songs like "Living Like a Refugee" and "Refugee Rolling" certainly pack a surprisingly understated punch. That's deliberate, for the group refuse to dwell too much on past traumas; survival means looking forward, finding happiness where one can, and working and educating a new generation towards a better future. And that's precisely what the album offers -- new life, new hope, and the desire to smile and dance one's pain into dust. As musically satisfying as it is soul-comforting, this could well be the most uplifting album of the year.
RECOMMENDED TRACKS: 1, 5, 7, 8, 12, 13, 15
REVIEWER: allmusicguide.com

DATE: 10.9.06
ARTIST: The Decembrists
TITLE: The Crane Wife (Capitol)
GENRE: ROCK/ALT
GRADE: A
REVIEW: The Crane Wife is loosely based on a Japanese folk tale that concerns a crane, an arrow, a beautiful woman, and a whole lot of clandestine weaving. The record's spirited opener and namesake picks off almost exactly where Picaresque left off, building slowly off a simple folk melody before exploding into some serious Who power chords. This is the first indication that the band itself was ready to take the loosely ornate, reverb-heavy Decemberists sound to a new sonic level, or rather that producers Tucker Martine and Chris Walla were. On first listen, the tight, dry, and compressed production style sounds more like Queens of the Stone Age than Fairport Convention, but as The Crane Wife develops over its 60-plus minutes, a bigger picture appears. Meloy, who along with Destroyer's Dan Bejar has mastered the art of the North American English accent, has given himself over to early-'70s progressive rock with gleeful abandon, and while many of the tracks pale in comparison to those on Picaresque, the ones that succeed do so in the grandest of fashions. Fans of the group's Tain EP will find themselves drawn to "Island: Come and See/The Landlord's Daughter/You'll Not Feel the Drowning" and "The Crane Wife, Pts. 1 & 2," both of which are well over ten minutes long and feature some truly inspired moments that echo everyone from the Waterboys and R.E.M. to Deep Purple and Emerson, Lake & Palmer, while those who embrace the band's poppier side will flock around the winsome "Yankee Bayonet (I Will Be Home Then)," which relies heavily on the breathy delivery of Seattle singer/songwriter and part-time Decemberist Laura Veirs. Some cuts, like the English murder ballad "Shankill Butchers" and "Summersong" (the latter eerily reminiscent of Edie Brickell's "What I Am"), sound like outtakes from previous records, but by the time the listener arrives at the Donovan-esque (in a good way) closer, "Sons & Daughters," the less tasty bits of The Crane Wife seem a wee bit sweeter.
RECOMMENDED TRACKS: 1, 2, 3, 9, 10
REVIEWER: allmusicguide.com

DATE: 10.9.06
ARTIST: Jay Bennett
TITLE: The Magnificent Defeat (Rykodisc)
GENRE: ROCK/MAINSTREAM
GRADE: A
REVIEW: Jay Bennett's fourth solo effort, The Magnificent Defeat, is as dizzying and dazzling as anything he and his former bandmates put together, and it's nowhere near as mopey. For one thing, Bennett's records in general -- and this one in particular -- don't sound like his record collection. They sound like he wrote songs, made noise -- and music -- and had a blast doing it. With a bit of help from longtime collaborator Edward Burch, and co-producer and multi-instrumentalist David Vandervelde, The Magnificent Defeat is one strange, quirky, and labyrinthine journey filled with the quark weirdness of growing up ("5th Grade"), broken love songs (the rollicking country-rock of "Wide Open"), and the gorgeously and perversely orchestrated tale of loss and studied rebuttal ("The Palace at 4 A.M."). "Replace You " is a rocker with plinking high keys from an upright piano, a pumped up organ, and a guitar riff that the glam kings would have fought the biker bands for. When "Out All Night," comes slinking out of the speakers at a volume of ten with throbbing guitar squall, it becomes obvious that Bennett is lyrically obsessed with brokenness in his relationships, but he celebrates it with the grittiness and accessibility of the best rock & roll, rather than just swimming in the emotion. As a result, he comes to accept it all with the words: "Yeah, it was the best that I could do..." Never have heartbreak and loneliness sounded like such a desirable party to attend. In "Overexcusers," a grand, detached, social and political cynicism is sparkled through with pop hooks, bright spangly production, and quaking drums. "Survey the Damage" is a ballad; it's shot through with just enough bitterness to give the listener a degree of empathy rather than pity. The Magnificent Defeat, is a bit of a wonder, really. It's an album you'll be able to play in five or ten years simply because there is so much in it. It's rowdy, sometimes raucous, tender, good-spirited and full of surprises. It's a rootsy yet manic pop thrill.
RECOMMENDED TRACKS: 2, 3, 4, 5, 6, 9, 10
REVIEWER: allmusicguide.com

DATE: 10.9.06
ARTIST: Dead Moon
TITLE: Echoes of the Past (Sub Pop)
GENRE: ROCK/ALT
GRADE: A+
REVIEW: Dead Moon play dark, passionate and gloriously primitive rock & roll that fuses the outlaw energy of punk, the aural snarl of classic garage rock, and the desolation of the blues with a lean and moody groove that cuts like a freshly sharpened bowie knife. Dead Moon have been making great records for years, but getting them out into the marketplace has not been their strong suit, and for years the band's profile has been lower than their music deserves outside of their home in the Northwest. Thankfully, Sub Pop has stepped forward to remedy this with Echoes of the Past, a two-CD set that collects two-and-a-half hours of Dead Moon's best music as chosen by Fred Cole himself. Considering that this music was made by people who were in their early forties when the earliest tracks here were cut (except for relatively youthful drummer Loomis, who was born in the early '60s), it's good to report that this band's music actually gets tougher and more focused with the passage of time, and there's just as much fire, rage, and sweat at the end of disc two as there is at the beginning of disc one. And while there's a sharp edge to this music at all times and plenty of emotional and political rabble-rousing in the lyrics, Dead Moon know when to speed up, ease back, or go heavy, giving the music a welcome sense of dynamics and diversity; while these songs may be simple, the band's approach never gets monochromatic, and over the course of 152 minutes that's a truly powerful virtue. Echoes of the Past is as good an introduction to Dead Moon as one could hope for. Anyone who wants the skinny on one of America's most indefatigable independent rock bands (or how hard parents and grandparents can rock) needs to have this in their collection.
RECOMMENDED TRACKS: hard to choose from almost 50 tracks, let's just say they all rock and all are unmistakeably Dead Moon!
REVIEWER: allmusicguide.com

also added:
Sparklehorse Dreamt for Light Years... Astralwerks
Damien Jurado And Now That I'm In Your Shadow Secretly Canadian
HEM Funnel Cloud Nettwerk
Los Straitjackets Twist Party Yep Roc
No Wait Wait About You Chairkickers
Nikki Sudden The Truth Doesn't Matter Secretly Canadian

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