The Private Press
Six years after the release of Endtroducing, the record that vaulted him into the international spotlight and elevated sampling from an abstract form of hip hop to an art form, Dj Shadow has released his highly anticipated sophomore LP entitled The Private Press. Shadow, also known as Josh Davis, has become one of the most sought-after and respected Djs in the world since the release of Endtroducing in 1996, yet has remained largely aloof of the media spotlight that was focused on him after the album's release. Abstaining from solo material in favor of collaborative projects during the 6 year interim, Davis formed the side project UNKLE which showcased the likes of Kool G. Rap and Tom Yorke of Radiohead, and also worked with fellow turntablist Cut Chemist on the projects Brainfreeze and Product Placement among other things. However, beginning with UNKLE and culminating with Project Placement, Shadowís style has diverged significantly from that of Endtroducing, a development that leaves The Private Press hanging precariously between both worlds.
The title of Davis' new LP refers to the now defunct industry of private-press
records: small sets of custom-pressed wax produced for individuals and
organizations during the 1940ís and 50ís that have since
become collectorís items for vinyl connoisseurs. Samples from such
records appear throughout the album, including the intro and outro, adding
a level of abstraction more characteristic of Shadowís work with
Cut Chemist than of his previous solo material. Itís this flavor
on tracks such as 'Un Autre Introduction', 'Walkie Talkie', 'Monosylabik',
and 'Right Thing/GDMFSOB' that may leave fans from Endtroducing feeling
somewhat betrayed by Shadow's new style which is somewhat more funk-influenced
and mawkishly sentimental than that on his previous LP. Yet shades of
the old Shadow still remain on the tracks 'Fixed Income', 'Giving Up the
Ghost' and the album's 9-minute epic 'Blood on the Motorway.' In these,
the classic, layered, sophisticated sound that Davis created on tracks
like 'The Number Song' returns on The Private Press, if only momentarily.
It is in the album's second single 'Six Days' that followers of Shadow
can find hope for the future. A seeming combination of both the new and
old Shadow, the track layers the male vocals of a psych singer over an
eerie progression of strings and drums, providing one of the LP's true
gems. And as always, Shadow continues to be a self-proclaimed 'student
of the drums' on The Private Press, with beats above all else forming
the foundation of the album. Conceptually more complicated and less accessible
than his past outings, Davis has nevertheless again created a template
for others following in his wake, all the while continuing to push turntablism
into uncharted territory.
-Marc Bouchard
Marc Bouchard is the Music Director and RPM Director for WHMB.
The Dead Ringer
It's
hard to know what to make of the ever-growing and equally puzzling
"Instrumental Hip-Hop" genre. Most fans would agree that since
its earliest days, hip-hop has been a two-part endeavor: beats and rhymes.
But while lyrical expression requires no more than a pen, a notebook,
and a microphone, the art leaves little room for creativity on the production
side. Even the great ones like Ali Shaheed Muhammad and DJ Premiere exhibit
a sort of timidity in their style, not wanting to outshine their lyrical
counterparts.
So when albums like DJ Shadow's "Entroducing" hit the shelves, many fans were confused. Surely these weren't just beats without vocals - their complex and almost operatic arrangements were unlike anything that had been previously classified as "hip hop". At the same time though, the funky break-beats and antiquated samples sprinkled into the music were the same components that had held the art together for years. It wasn't until a little over a month ago when a producer named RJD2 released his freshman effort, "The Dead Ringer," that many of these worries were extinguished. What Shadow had on the tip of his tongue throughout "Entroducing," RJD2 speaks with crystal clarity. The album contains 17 tracks in its entirety; a mere three of them invite an emcee into the mix. Yet somehow, there is never a doubt that this music has the spirit of hip-hop at its core. RJ, working extensively from his collection of rare 45" records, pieces together a collection of samples and beats so deep, you might just forget that no one's rhyming over them. The album hits stride around the third track with the moody and mysterious "Smoke and Mirrors."The song blends a long-forgotten vocal sample with a collage of interesting sounds, teetering around a climax but never fully reaching one. The funky chaos of "Good Times Roll" follows and flips the script entirely. As if to keep to listener from settling in, RJ composes a brilliant mix of bright, bubbly samples with a revved up drum beat that keeps the song marching forward.
The instrumental
gem on the album may be the deceiving "Ghostwriter." An airy
acoustic guitar sample serves as the background of the tune and fits in
seamlessly with bits and pieces of blues and soul harmonizing. Just when
it seems that the mood has been established, a
parade of horns joins the mix, turning the once tranquil beat into an
all-out, head-nodding masterpiece. All three tracks that include an emcee
are superb as well. The winner is the unorthodox "June," which
sandwiches a long and heart-felt instrumental between two emotional verses
by MHz front man, Coywrite. RJ's collaboration with producer/rapper Blueprint
on "Final Frontier" is also impressive and whets the appetite
for their upcoming "Soul Position" LP. It's hard to tell whether
the still-youthful "Instrumental Hip-Hop" genre will thrive
and continue to produce such talented, innovative artists. If it does,
however, one thing is for certain: "The Dead Ringer" will be
considered a classic for years to come.
- Josh Kahn
Josh Kahn's hip-hop show, "Ghost Coast Beats," can be heard every Tuesday night from 10-midnight on WMHB, 89.7 FM.
Then Is The New Now
Hey. Cap’n Barney here.... community DJ at Colby’s WMHB. WMHB has been receiving a steady flow of new rock CDs over the past month. One of the stand-outs in the latest batch is DENISON MARRS’ "Then is the New Now." From the opening rocking guitar chords and driving drumbeat of "What Life Has" to the ending anthemic "PS148," DENISON MARRS keeps it interesting, and keeps it rockin’.
The songs are of love and hope and friendship. But what struck me as most refreshing was that the lyrics tended to be quite upbeat and positive - even bordering on religious which isn’t a stretch with a song even titled "Send Me an Angel." The band features the basic rock players - two guitarists, bass guitarist and drummer - who provide a full-throttled blast of indie rock at its best. When you add the vocals of guitarist/lead singer Eric Collins, the songs soar and don’t let you down from beginning to end.
Many CDs have those filler/after-thought tracks that have me constantly pressing the "skip" button on the disc-player. Not so with DENISON MARRS’ latest CD. While the CD does feature one mid-tempo tune - "This Must Be Love" - and the ending anthem "PS 148," even those tracks ROCK and have you realizing the "skip" button won’t be needed for "Then is the New Now." For all ten tracks, it’s evident that the focus is on the music, and the band delivers. On one of the BEST tracks - "Rescue Mission" - Collins’ tells us "This is a great age for a rescue mission... a perfect time to save the world." Lakeland, FL-based DENISON MARRS does that just - rescues us from so-so CDs with a killer set of 10 songs on this - their third CD. So cue it up, crank it up, and enjoy.
If you need
a sample of DENISON MARRS, I’ll be featuring tracks from their new
CD on my fall radio show on WMHB 89.7 FM - that’s ODD ROCK from 6
to 8 AM Wednesdays. Yes, AM as "in the morning" - for all you
early-morning rockers! Hey, keep rockin’ and a big "thanks"
to DENISON MARRS for the music.
- Pat "Cap’n Barney" Turlo, Community DJ/Odd Rocker
Jungle City Twitch
Looking
for some new sounds to please your senses, entertain your guests,
and tame even the wildest of tigers? Enter the new cd Jungle City Twitch
(Equal Vision Records) out from the New York band, The Stryder. Band members
Peter Toh and Scottie Redix have rocked the musical world for over six
years under a plethora of band names. One musical endeavor, Yearly, was
making leaps and bounds until their bassist called it quits to play with
Saves the Day. Their last cd, Masquerade in the Key of Crime (Equal Vision
Records) marked the beginning of an era with "lyrics showing a common
thread of (barely) post-adolescent love almost won," wrote Hardcore
Times. Armed with a new bassist and singer, their current wild adventure,
Jungle City Twitch, has been described as a sound with "a little
more touch of old skool Weezer and Get Up Kids mixed in with their own
style."
Regardless
of how The Stryder are categorized, their attempts at pairing passionately
written lyrics and raw energy leave them triumphant.Jungle City Twitch
boasts several note-worthy tracks. "Crook," displays Peter Toh's
vocal aptitude, and "This is the Time," lashes out with "crunchy
guitar riffs and heavy drums," says Turn Up the Rock's online newsletter.
However, the slower tune "Missing Without You," should not be
overlooked. The Stryder is a perfect fit for listeners that take pleasure
in pop-punk bands' hearts exposed; open and bleeding with anguish. Saddle
up for The Stryder experience.
If your
ear has encountered the sounds of The Stryder or similar bands and been
left with a feeling of worthwhile listening and musical fervor, tune in
to 89.7 fm for my summer radio show, The Taming Wild, Tuesday nights from
6-8, and Wednesday nights 8-10. The WMHB summer season ends September
18, but after then you can check out our seasonal program guides to know
when to get your fill of new rock and punk with my show, or catch
other shows with genres ranging from metal to country to anything in between.
WMHB; Central Maine's only source of alternative music. Soak up the radio
waves.
-Miko Yokoi
Joyful Noise
"There
is an art of listening: to be able to really listen, one has
to put aside all prejudices, preformulations and daily activitess"
That quote, taken from the liner notes of the David Trucks Band newest
offering, "Joyful Noise," aptly explains how to approach the
music of David Trucks. Trucks, who is also the lead and slide guitarist
for the Allman Brothers (admirably replacing the late great Duane Allman),
utilizes various styles in the ten selections on "Joyful Noise,"
from classic blues and pure funk to a world beat and Motown soul. The
selections are nicely balanced between five instrumentals, which sadly
won't receive the airplay they much deserve, and five with guest vocalists:
blues greats Solomon Burke and Susan Tedeschi, who is also David Truck's
wife; and Latin actor-singer
Ruben Blades (of Paul Simon's "Capeman") and Palistinean Rahat
Nusrat Fateh Ali Khan (best known state-side for his work with Eddie Vedder
on the soundtrack for "Dead Man Walking").
The title track and first cut, "Joyful Noise" is just that, starting off with some Hendrix style licks on Trucks' Washburn guitar then tripping into enthusiastic funk. The remaining instrumentals have a moody sixties psychadelic feel, with the exception of "Lookout 31," a showcase for drummer Yonri Scott with a definite contemporary jazz groove. Solomon Burke and Susan Tedeschi conribue definitive blues with Burke's lively "Home in Your Heart" (Winfield Scott-Otis Blackwell) and Tedeschi's tousing, heartfelt "Baby You're Right" (James Brown-Jon Tex). Burke's second number, however, "Like Anyone Else" (Kofi Burbridge) captures that Motown sound. Ruben Blades give us the Latin flavored "Kam-Ma-Lay," music by David Trucks Band and Spanish lyrics by Blades himself. The standout, though is the Qawalli song "Maki Madni," by Nusrat Fateh Ali Khan. His beautiful haunting voice is accompanied nicely by Kofi Burbridge's flute and Truck's sitar-sounding Washburn.
Take the advice of the David Trucks Band: put aside your prejudices and open your ears. Though located in the new blues section at WMHB, "Joyful Noise" has a song and style for virtually everyone. Check it out on my show "Blue Monday," Monday evenings, 6:00 to 8:00. I will be giving "Joyful Noise" serious airplay.
-Andrew "Drew" Smith, '86
Ride Away From the World
Pat
Turlo, aka Cap’n Barney, WMHB volunteer community DJ
If you’re looking for hip hop, techno or indie rock, DON’T listen to THE STONE COYOTES’ 4th CD - "Ride Away From the World." But if you DO want to hear no-holds-barred power-chord guitar-drums-bass pounding rock and roll, then this is the CD for you!
THE STONE COYOTES consist of Barbara Keith on lead guitar and vocals, husband Doug Tibbles on drums, and son John Tibbles on bass. The band plays music that - as MUSIC DISH reports - is "stripped down, delicious, aggressive rock music with plenty of swagger." When I started DJing at WMHB in 1999, THE STONE COYOTES first CD - "Church of the Falling Rain" - was one of the first CDs that I played ... and played and played. The trio has pumped out two other CDs - 2000’s "Situation Out of Control" and the 2001 release "Born to Howl" - which also hit the top 30 at WMHB. Yes, I played and played the heck out of them, too. They just rock!
The latest CD features the same distinctive Barbara Keith vocals and her blistering straight-ahead rock guitar licks. "Ride Away From the World" has 15 tracks that simply ROCK... like "Slip the Shackle" and "Whole Lotta Money." Plus the CD features two cover songs - Black Sabbath’s "Paranoid" and Ricky Nelson’s 1959 Top-10 hit, "It’s Late." I don’t know of any other band that could pull it off, but the songs rock and sound as fresh as ever.
ROLLING STONE: "The Stone Coyotes are a rare wild beast in a domesticated music industry." THE NASHVILLE SCENE: they "crank out unpretentious rock that has grime on its fingers and transcendence in its heart." With those types of reviews, the band will break nationally - eventually. But until then, they can be found on WMHB - ESPECIALLY on my show, "Odd Rock," 6-8 am Wednesdays. Check out the music on WMHB - or on the web at stonecoyotes.com.
Live - Just Trippin'
-//-
11 Bravo... Viet Nam
by Community DJ Cap’n Barney Turlo
Rockland, Maine’s BLIND ALBERT has produced several CD’s over the past 3 years including his latest - JUST TRIPPIN’. All tracks were recorded live at the Togus veteran’s hospital in Augusta on October 31, 2000. I confess to a ‘bias’ -- I was there for the gig. It was AWESOME! The CD has kickin’ live rock ‘n’ roll including covers of "Voodoo Chile" and "Not Fade Away" plus a version of the Stones’ "Gimme Shelter" that is better than the original!! There are bluesy tracks including originals penned by BLIND ALBERT aka Vincent Gabriel who has a distinctive Neil-Young-like vocal style and great lead-guitar work along with a terrific, LOUD, talented band.
One of the enjoyable aspects of being a WMHB DJ is hearing music by "new," non-commercial (i.e., struggling) artists. And every so often we get a CD "out of the blue." Such was the case with BLIND ALBERT. A couple years ago, I met two high school buds at a Winslow pub whom I hadn’t seen for decades. One of ‘em had a CD - Blind Albert’s "11 BRAVO... VIET NAM." I’d never heard of Blind Albert, but I borrowed the CD and cued it up when I got home to hear some GREAT blues-rock!! I IMMEDIATELY got it into the MHB studio.
"11 BRAVO" is about Gabriel’s Viet Nam experiences. The lyrics are gripping, e.g., "AK-47s everywhere. I was pinned down flat and I was scared. 1968. Happy New Year..... I was thinkin’ about my family so far away....". Those lyrics are from "1968." A live version of the song is on "Just Trippin’."
BLIND ALBERT writes,
sings and plays GREAT blues-rock. Take my word for it.... or check out
blindalbert.com.... or catch Blind Albert - solo or with his band - at
various Maine venues. It is worth the trip -- and the listen!! And as
always, you can listen to BLIND ALBERT on my show - ODD ROCK - on Maine's
alternative music station, 89.7 FM, the Big Whoombie, WMHB Waterville.
Varying Degrees of Failure and Tunelessness
THE PIPER DOWNS -- Varying Degrees of Failure and Tunelessness
Fire up the CD player with the volume jacked. Hit "play." The sound waves created by the pulsing rock drum beat hit you like a train. Then the crisp guitar chords kick in followed by a crankin’ bass guitar groove. Rock and Roll!! It’s THE PIPER DOWNS and the song is appropriately titled "Louder." It’s track 1 on their new CD, "Varying Degrees of Failure and Tunelessness." Cue track 2, and the jangling rock guitar chord intro is followed by the bass guitar and drums kickin’ in. MORE Rock and Roll!! The second track, "Hardcore," kicks as much rock ‘n’ roll butt as track 1.
The new CD by THE PIPER DOWNS is described on the PD’s website as "Unforgettable, unmistakable, relentless power pop - Jimmy ate the World and it had a Foo Fighter aftertaste." I agree completely, and THE PIPER DOWNS sound also reminds me of the Smithereens at their best - crisp guitar rhythms with a great bass guitar/drum section, plus awesome vocals and harmony. Other tracks kick, too, such as "When I needed You," "Stutter," and "10 Speed."
THE PIPER DOWNS were formed in 1996 as a trio featuring Bobby Bognar on guitar and lead vocals, Garner Knutson on lead guitar, and Yell on bass. The three band members were all students at Virginia Commonwealth University and it was there that they met and created the beginnings of what is now THE PIPER DOWNS. The band subsequently added a drummer - Ellen McGuyer, a stand-out percussionist known for her hard, rock drumming.
THE PIPER DOWNS are
ready to break nationally, but for now they are touring hard, giving the
fans some great rock and roll, from Chicago to Denver back to their home
base of Los Angeles, and even to Australia. Pick up a copy of their GREAT
new CD - "Varying Degrees of Failure and Tunelessness" - on
the web at piperdowns.com, or listen to this up-and-coming rockin’
band on Maine’s alternative music station -- 89.7FM, WMHB Waterville.
Persuaded - Live in D.C.
Richard
Smallwood with Vision, Persuaded-Live in D.C. Zomba/Verity, 2001.
With every Richard
Smallwood release, my mother rushes to her local music store and orders
the compact disc and video for herself and the compact disc, the cassette
tape, and the video for me. We love Richard Smallwood that much!
Smallwood's newest recording, Persuaded-Live in D.C., is a tightly edited
version of a live concert that is available in its entirety on video tape.
The concert takes place in the Washington, D.C. megachurch, Jericho City
of Praise, so there is plenty of space for the tight vocal ensemble (Vision),
the traditional coterie of gospel muscians [organist, pianist (mostly
Smallwood), guitarists, bass players, and drummer], a gospel brass section
called "Mo' Horns" (they sometimes work with Fred Hammond),
a thirty-one piece symphonic ensemble, a team of liturgical dancers, sign
language interpreters, and a ten-thousand member audience. (This is why
you need to see the video!)
Richard Smallwood is a gospel musician (consummate pianist!), composer,
singer, choir director, and producer who combines his classical training
with his black Christian immersion to create musical experiences that
move from traditional gospel to just short of the ultra-contemporary.
Persuaded begins with "Procession of the Levites," a very dramatic
and beautiful orchestral prelude that modulates into an "Anthem of
Praise" based on Psalm 150 ("Praise him with the sound of the
trumpet!--that psalm). Of the twelve songs included on the compact disc,
three are singles that will become "signature" hits: "Praise
Waiteth for Thee" (also titled "My Everything"), "Hold
On, Don't Let Go," and "Persudaded." Because Washington,
D.C. is Smallwood's home, the concert includes a three-song retrospective--"Psalm
8," "Calvary," and "Oh Lord, We Praise Thee"--from
previous studio recordings. "Calvary" is one of those pieces
that will make listeners hit the repeat button; so is "Hold On, Don't
Let Go." On every album, Smallwood performs a piano solo that is
a difficult classical variation on traditional hymns; this time he plays
"It Is Well With My Soul" and "Come Ye Disconsolate";
the audience joins him at the end in singing the chorus to "It Is
Well" and it is absolutely wonderful.
Two pieces, a samba titled "Nothing Without Your Love" and the
meditative solo, "Oh How He Loves You and Me," did not appeal
to me at first. In spite of the beautiful voices that carry them, these
songs just did not get this lover of traditional and contemporary gospel
music all excited. However, when I played "Nothing Without Your Love"
on my radio show ("The Uncloudy Day," Wednesdays, 8:00 A.M.),
I had to confess to the listening audience that it was really a beautiful
piece of music. And this is what makes any Richard Smallwood recording,
including this one, a true musical treasure: excellent musicianship, complex
arrangements, and a tightly organized team of stunning solo voices. Every
listening will yield greater appreciation for the total package. I am
Persuaded that everyone will enjoy this album and that we will hear choirs
singing some of the pieces, especially "Hold On, Don't Let Go,"
for years to come. As has come to be expected from Richard Smallwood,
Persuaded-Live in D.C. is a keeper--truly great music and solid inspiration.
shoottokill
Shoottokill marks a significant move for AK as it is his first producer album. The first American drum and bass album produced in the jungle scene, the LP finds collaborations with the U.K. master production expert Robert Playford whose credits range from everyone like Goldie to Bush. If there is one word to describe the album, it is ambitious. In much the same vein as mega dj-gone-producer Paul Oakenfold's debut production album "Bunka" which was also released this year, AK1200 stacks the deck to his favor on shoottokill. The guest list is impressive even beyond Playford's contributions; collaborators include Phife Dawg of the Roots, Dom & Roland, Junior Reid, Dj Icey and Danny Breaks.
Yet it is this diverse line of contributors that might leave some fans confused. For those who have followed AK1200's work, his live sets have tended towards the darker and more aggressive side of drum and bass, highlighted by an intelligent selection of anthems. Shoottokill is not dark, nor does it include any tracks with anthem potential. The LP is surprisingly mellow, save the track "The Lycan." Something of a throwback to the origins of drum and bass, the album has been heralded for retaining "the charisma and ingenuity of old school jungle." While this is all said and good, those who were expecting a work similar to the live AK1200 might find themselves wondering what they just purchased.
Dangerous Connection
7L
& Esoteric - "Dangerous Connection"
On October 8th, 2002 the sophomore album for the Boston hip hop veterans 7L & Esoteric dropped. The album, called Dangerous Connection was released via Boston based Brick Records and features cuts and most of the production by 7L and an onslaught of crazy rhymes by Esoteric. Dangerous Connection features guest appearances from J-Live, Vinnie Paz from the Jedi Mind Tricks, Apathy (who recently signed with Atlantic Records), and Count Bass D. While 7L produced most of the album Esoteric also received production from Beyonder and legendary west coast producer Kut Master Kurt.
The album features one interlude and thirteen tracks including the lead singles "Watch Me" and "Word Association" which are both getting heavy rotation on college radio, mix-tapes, and select commercial stations across the country. In the track "Word Association" Esoteric is constantly being given one word which he then associates with another word or phrase. He is the master of performing this type of rapping live and if you have a chance to check it out you definitely will not be disappointed. My personal favorite track on the album is "Rules of Engagement" featuring J-Live and Count Bass D where they speak on the current state of hip hop and want to be emcees. In the track Esoteric says "Now a days people clap even if you're wack, no wonder everybody wants to rap."
The Boston music scene
is like no other. While New York will always be the home for hip hop Boston
is above and beyond any other market in terms of support for local music
and because of this has developed a nice little niche in the hip hop music
scene. Lead by EDO. G, Mr. Lif, Akrobatik, Skitzofreniks, Krumbsnatcha
and of course 7L & Esoteric the Boston market continues to pump out
quality music. I highly recommend that you pick up this album. If you
purchase it through www.hiphopsite.com you will also get a free 7L &
Esoteric t-shirt and a Landspeed Records CD featuring music from Guru,
the Beatnuts, Royce, Big Daddy Kane and more.
Lost in Space
If you're the type
of person who listens to the music and ignores the lyrics, you may really
love the new CD by the former vocalist of the 80's band 'Til Tuesday.
Aimee Mann is a singer-songwriter who pays attention to details, and since
she is now recording and issuing CDs on her own label, she has complete
control over her product. The musical arrangements on Lost in Space are
carefully, almost lovingly done, and the production is excellent. The
CD package includes an impressive book of black and white cartoon-like
drawings by artist Seth.
Yet one glance through the illustrations and lyrics which are also printed
in the booklet tells a depressing, nearly desperate story. For many years,
Aimee struggled with various record labels and wrote songs about the disappointments
she experienced. On Lost in Space she writes about the temptation of drugs
and the world of the drug addict. All the songs are slow to medium in
tempo with a lush, dreamy, floating feel and rich rock guitar riffs by
Michael Lockwood. Aimee's distincive sound and characteristic sarcasm
are present throughout the CD. There's no mistaking her subject matter.
The chorus of the song "High on Sundays" is "Baby please,
let me begin; let me be your heroin". In the song "This is How
it Goes" the chorus is "It's all about drugs, it's all about
shame". "The Moth" is sung from the point of view of a
temptress: "So come on, let's go, ready or not. 'Cause there's a
flame I know, hotter than hot, and with a fuse that's so thoroughly shot."
"Pavlov's Bell" is the song that rocks the most, with an extraordinary
soaring arrangement. The first single from Lost in Space is the opening
track "Humpty Dumpty". One line that is repeated is "All
the perfect drugs and superheroes wouldn't be enough to bring me up to
zero"; another is "All the king's horses and all the king's
men couldn't put baby together again". Other song titles include
"Real Bad News,
"Invisible Ink", "Guys Like Me", and "Today's
the Day". If you're already depressed, you can listen to this CD
and commiserate. Otherwise, Lost in Space can be enjoyed for it's remarkable
sound and it's portrayal of a slice of life.
As an addendum to this review, I saw Aimee perform at The State Theater
in Portland the night before I wrote this. The band was very hot and played
flawlessly. Aimee was clear-eyed, energetic, and she flashed her smile
many times. Very aware of the audience, she made a number of observations
from stage. She performed five songs from Lost in Space including the
last song on the CD which was also the last song of her show. This tune,
which her guitar player told her was the saddest song she has ever written,
is called "It's Not" and offers the line "So baby, kiss
me like a drug, like a respirator." To the delight of a full house,
Aimee also performed songs from all of her solo CDs,
did five encore tunes, and stayed to sign about 200 autographs after the
show.
A Rush of Blood to the Head
Rush relies on Chris Martin's soaring falsetto that made Parachutes, Coldplay's first cd, such a pleasure to listen to. Johnny Buckland, the band's lead guitarist, has developed new prowess. U2's The Edge seems to be Buckland's principle source of inspiration, with the sort of chiming, ringing guitar riffs that make for grand, stadium-filling rock songs.
Although every song is quite enjoyable, a few do stand out about the rest. Opener "Politik" features a pounding piano line, sing along chorus and lyrics that move beyond Parachutes themes of love gone wrong into politics. The title track has a similar message with Martin singing "I'm gonna buy a gun and start a war / if you can tell me something worth fighting for." Clearly Coldplay has developed a new interest in the world around them. "The Scientist" is a slow tempo ballad that has the potential to be a lighters aloft classic.
The album's real rocker is "God Put A Smile On Your Face." In it, Martin recognizes that we're all pretty much the same, and that no one has any definitive answers to life's big questions; "your guess is as good as mine" he wails over the aforementioned soaring guitar riffs.
A Rush of Blood to the Head firmly places Coldplay in the pantheon with today's best rock bands. Coldplay have transcended their primary influences, Radiohead and U2, to join them in rock's pantheon. Listen to WMHB and call 872-3348 to hear the songs mentioned in this review.
Leaving Through the Window
Something
CorporateLeaving Through The Window
When I went to see
New Found Glory in concert, I hardly expected to leave with a copy of
someone else's CD. But after listening to Something Corporate's opening
performance, I honestly had no choice
One of the most important things when listening to a CD is to be able
to listen the whole way through without getting bored or wanting to skip
a song. "Leaving Through The Window" allows for just that. While
some especially stand out, none are left behind.
Their unique style combines punk, pop, and rock, with an incredible piano
performance by the band's lead singer, Andrew McMahon. To top that off,
five of the tracks include string arrangements from a 26-piece orchestra.
McMahon's inimitable style complements the feel of the music, evoking
an emotional reaction from the listener.
"If U C Jordan" has been their biggest hit, and with good reason,
but there are a number of other songs to rival it. The first six songs
stand out especially to me opening with the passionate, "I Want to
Save You," and following with "Punk Rock Princess" which
just plain rocks!
The most significant aspect of this CD is its originality. I can't even
think of another album to compare it with. From start to finish it will
keep you hooked. I strongly recommend it to any punk/emo fans. For those
of you who don't consider yourselves as such, listen to WHMB on Friday
nights and evaluate it then. You will not be disappointed.
Kill the Moonlight
SpoonKill the Moonlight
I must say when I first picked up Spoon's latest release Kill the Moonlight off the WMHB new music shelf it was not because of the band's reputation or what I had heard about the album. In fact I knew nothing of either one. Actually I picked up the CD because for some reason that I can't remember now I was giggling like a doped up school girl over the name of the band. Luckily for me, my strange and we'll call it "unique" sense of humor led me to a really fantastic album.
Before I go into what makes Kill the Moonlight one of the best albums I've heard in a while, I think it's worth noting that my lack of knowledge of Spoon put me in an optimal position to hear it for the first time. I wasn't swayed by what I'd read or by the ever so common "well, that band used to be good so even though this album sucks more than an industrial-sized Hoover, I still love it" phenomenon. That said, let's get into what makes this album so great, shall we?
After regaining my composure I popped in the CD and started perusing through the tracks. I was immediately taken by the simplicity and subtle elegance of the album. It had just enough going on without that over-produced sound that seems to saturate the airwaves these days. The first song that really caught my attention was the second track, "The Way We Get By," which combines a rhythmic piano and bass line with a driving but not over powering drum track. Add in the equally rhythmic lyrics and you've got a song that had me way past the point of just tapping my foot, but we won't go into that…
The album continues with this refreshingly simple, rhythm oriented theme with songs like "Stay Don't Go" and "Someone Something," both of which show that the recipe for a great song doesn't have to include the overdone cliché of the day. "Jonathon Fisk," Spoon's single off of Kill the Moonlight is another example of how more does not equal better. The song starts off with a building duet between a crunchy electric guitar and rumbling drum kit that then blasts off into an energetic rock tune that echoes the post-punk style that rocketed to stardom bands like The Hives and The Strokes.
There's nothing more than you need here, folks. Spoon's Kill the Moonlight strips rock down to what makes rock cool and leaves you wondering why hair-bands were ever popular in the first place. This one's a definite keeper and if you haven't heard of Spoon already, keep an eye out because it's just a matter of time.
-Chris Sotzing
Chris Sotzing's rock
show The Carson Shore Show can be heard every Monday night from 8-10:00pm
on WMHB 89.7fm
Subliminal Sessions Three
"Subliminal Sessions Three" mixed by Erik Morillo
Looking for some hot action house music? Look no further than Erik Morillo's "Subliminal Sessions Three." Morillo has been on the forefront of DJing since his first gig back in 1992. Morillo is now a staple of the international scene, recently securing the most renowned residencies in the UK, US, and the famed Pacha Ibiza, saved for only the best of the best. Spawning from Colombia, New Jersey, this CEO of Subliminal records says that when you go into the store to buy a Subliminal record, you "know you've got a quality record" (Subliminalrecords.com). The label recently received the best international independent in consecutive years from Muzik awards in the UK. Morillo consistently tops the international DJing charts; most recently, he received "Best International DJ/Producer 2002" at Pacha Ibiza, and for a reason. The third Subliminal Session will not disappoint Morillo fans, it provides quality house music all the way through, just as you should expect from one of the greatest DJ's of all time. Morillo takes the listener through three CDs of different flavors of house music, each being part of a Morillo guided journey like that you might hear from one of his three hour sets from anywhere in the world. It's extremely rare to find such premium house music all the way through a three CD mix, especially for the third time around, but Morillo does it with such grace and ease. It is one rump-shaking ditty after another that goes to show the quality of Subliminal Records and their dedication to excellence. The first CD warms the listener up with some deep, heavy house beats, the second CD moves into some really hot and juicy funkdafied progressive joints and wraps up with the session with a third CD full of jazzy, light, happy house. Highlights include Basement Jaxx's "Do Your Thing," DJ Sandy vs. Housetrap's "Overdrive," Who Da Funk's "Sting me Red (Clever), FC Kahuna's "Glitterball", and Harry "Choo Choo" Romero's "Keep Your Head Up". If you are desperately seeking some sick, phatty house beats, then Morillo's "Subliminal Sessions Three" is just what you want. I advise anyone even remotely interested in hearing some straight up freak nasty house music to listen to Morillo, he knows how to spin records like very few others do. Morillo deserves recognition; he is one of the hardest working in the business and always highly sought after he is a DJ, producer, remixer, and CEO. If you listen to the Beat Sessions, Thursdays 8-10 on WMHB 89.7, you will definitely catch some Morillo flavor.
Let it Rain
Being an excellent album, even for Tracy's standards, does not at all hint that it will leave you feeling good. This isn't the album to pick you up after a bad day, but it will certainly help you to wallow in your own self-pity. It seems that, whatever you are unhappy with in the world, this artist feels the same way. She does not express too many feelings of optimism, happiness, or satisfaction with anything. Unlike her previous albums, there are few up-tempo songs to balance out the sorrowful majority. Despite the depressing effects of her lyrics, we can all appreciate the honesty and frankness of Chapman in this album, as well as in everything she has ever written. The image might be lackluster, but the music will be around for a while. Once again, Tracy has left us singing her songs incessantly, thinking ourselves gifted before our friends make us realize the reality that we should stick to listening.
Steen Sehnert