Tuesday, September 21, 2010

Review: John Legend and The Roots- Wake Up!



Collaborations are supposed to be like this. This is fun, hopeful and at times, downright bad ass! "Wake Up!" sounds like a group of guys playing their favorite soul tunes and just jamming, and that's how it should sound. Is it gimmicky? Is it a little late? To both, maybe, but there's no denying that there's a strong sense of sincerity to these old songs, and who better to bring it than hip-hop's most iconoclatic group and the best R&B singer who's so good and vital to the industry that even your mom has heard of him?

That's not to say "Wake Up!" doesn't misstep. It suffers from length problems and some of these songs are questionable choices. "Humanity" is a near laughable track with a reggae backbeat that doesn't do the album favors, but when everything is clicking, you'd be hardpressed to find a better soul album. As expected, the music is top notch. In fact, you could go as far as to say this is the best The Roots have sounded as a band. Maybe it's the fact they play near every night on the talk show circuit, but the insturmentation is teriffic. In particular, Captain Kirk's awesome guitar and ?uestlove's always on pace drumming.

"Hard Times" and "Compared to What" are the first two cuts on the album and immediately suck you in with their vintage vibe and Legend's sense of urgency singing on both tracks. He's believing in the wrong and want's to do something about it damn it! Lord, does it sound all powerful too. "Compared to What" is a favorite forthe best song of the year, the song gets everything right that made the original such a vital soul tune in its day.

The lead single "Wake Up Everybody" doesn't live up to the high standard held up by the first two songs. It's not even Melanie Fiona who ruins it, but a verse by Common which at best, sounds out of place for a would-be legend who has been swinging and missing as of late. "Our Generation" makes up for it as it displays the sense of urgency and passion displayed on the first two tracks of the album, with its beat and production as retro as it should sound.

"Hang on in There" has the Curtis Mayfield vibe going on with its strings and dark view of the urban world which is on display this whole damn album. "Wholy Holy" doesn't exactly fit the mold for a would be gospel tune in the midst of an album whose views lie on taking on those who have bastardized faith, but I may be looking too much into it, and it doesn't help that the song is the slowest in a thick of jams.

John Legend starts of "I Can't Write Left Handed" talking about Bill Withers' last days before launching into a 10+ minute jam session full of amazing solos and guitar work done by the underrated Captain Kirk Douglass. He makes it shine with Hendrix like explosions, solidifying his spot has the best soul guitarist since the purple one.

Even though "Shine" may be a weak way to end this album, there's no denying that despite playing other people's songs, it showcases the talents of all these gentleman, who are the best at what they do, whether you've been watching or not. It's not a vital album by any means and both parties have done better, but in the hip-hop world, it's entirely refreshing and amazing to see artists talking about issues that matter, no matter how old the songs may be. In the world of "Not Afraid" or "Fine Your Love", I will take this any day of the week.

*** 1/2 out of *****

Wednesday, September 15, 2010

Review: Grinderman- Grinderman 2



The idea of Nick Cave making a doom metal album sounds silly, yet here we are with Grinderman. Grinderman is a side project consisting of Cave and the core of the past decade's Bad Seeds lineup minus Mick Harvey and unlike the Bad Seeds, it's heavy as FUUUUCCCKKKK! The first Grinderman album was a much needed can of whomp ass for anyone who thought Cave was losing it at his old age. Even Snoop Dogg admitted to liking "No Pussy Blues". So with one album done and Cave's "Dig Lazarus Dig!!!" album being Grinderman-lite, we get the much needed sequel, and while it's not entirely more of the same, it's still pretty damn awesome.

Album opener "Mickey Mouse and the Goodbye Man" and first single "Heathen Child" are the expected straight forward "rawk" affairs that you'd come to expect. More than that, the band shows of more a blues style in this album than in the previous one. It's dirtier and grungier and the songs are as heavy as they could possibly be, evoking a Stones "Exile" like blues approach to an already distinct sound for a band. It's a ballsy and admirable move, and of course something that only Nick Cave and Warren Ellis could make work.

There's also no shortage of weird, druggy like tunes on this album too. "When My Baby Comes" is a down tuned affair with the perfect musicianship these middle aged guys should and have been putting together for quite some time now. "Evil" and "Kitchenette" while having a different sound from each other, best showcase Cave's magnetic wordplay with the dirty sound to match the equally dirty lyrical content of both songs. Not that Cave's ever had the friendliest or cleanest of lyrics. He's the dirty uncle writing about things that would make Donald Dagan and Walter Becker say he's a little fucked up.

Like every hard rock band, Grinderman mix in their share of ballads. "What I Know" and "Palaces of Montezuma" aren't traditional ballads in any sense, but it's as soft as the band gets. It doesn't last long, in fact, both songs are among the shortest of the album, leaving more time for ass kicking rock and roll. They're not throw away songs by any reason and if the whole album was as heavy as the rest, you wouldn't be able to stand up afterward.

Nick Cave is on the wrong side of 50, but of course if you've been paying attention, it doesn't matter, nor should you give a damn, because he obviously doesn't. Cave is as creepy and cryptic as he's ever been. The past decade of work is perhaps his best, and even when he's doing a completely different style than what we're used to, he's still knocking it out of the park. Musicians aren't supposed to age this gracefully, considering the amount of drugs this guy has taken. But who are we to complain, the music still rocks and that's all I'll ever ask.

**** 1/2 out of *****

Tuesday, September 14, 2010

Review: Of Montreal- False Priest



First things first, as of right now, this may be the most satisfying album to any band's fanbase this year. Of Montreal have been popular in the indie community for the past decade, now taking their funky styles to new heights, the band has recorded what should be their breakthrough album. "False Priest" is an album with no dull moments, it lasts damn near an album but there is no filler, it's classic Of Montreal. The band has enlisted Solange Knowles, sister of megastar Beyonce, as well as Janelle Monae, who released the amazing "Archandroid" this year. It's a recipe for something great and it pays off.

"I Feel Ya' Strutter" is a opening funk jam with Kevin Barnes sounding like a coked up Donald Fagan. He talks through most of the song except when he's breaking into a falsetto, and it's teriffic. With its thumping bass and porn guitar, it would be right at home with Sly Stone. "Our Rioutous Defects" follows and has Barnes almost rapping and dueling with Monae into a mash of battle of the sexes who is more crazy? Apparently Monae is a "crazy girl".

"Godly Intersex" is a club banger that's sure to shake the asses. Less on the live insturments, heavy on the beats and ever surreal imagery, and heavy on the Bee Gee's like chorus. It stands to be one of the best songs of the year by far. "Hydra Fancies" is hokey and sounds like mid-80's R&B, but you can't help but get the feeling that they're trying to have fun with every other R&B style that isn't New Jack Swing on this album.

"Like A Tourist" goes back to that Sly Stone sound but reinvents it for a new sound that doesn't sound dated. Once again Barnes is singing silly for the hell of it and none of his words make much sense, but that's half the fun of listening to the band. "Sex Karma" is as awesome as it sounds, and with Beyonce's little sister taking some vocal calls, it would be silly to think that they weren't writing a single.

The ending of the album is just as fun as the start. It's a smartly sequenced album and songs like "Girl Named Hello" are basically a hangover from all the fun within the first half hour of listening to this album. "You Do Mutilate?" ends the album as three different songs, all unique and original to the band's sound in every way possible.

If you haven't checked out Of Montreal already, there's no better place to start. It's a classic album by a band who has deserved all the praise out outcry from their fans in the indie community. In a world where Lady Gaga is passing off as listenable pop music, it's refreshing as shit to hear a funky, pop album with balls that isn't pretentious and is enjoyable for all fronts. If this is any indication of the new decade for the band, I can't wait to go along for the ride.

**** 1/2 out of *****

Wednesday, September 8, 2010

Review: Interpol- Interpol



The cover of the album says it all. It's the band logo being broken up. Ladies an gentleman, Interpol are broken. Once they were they were being hailed as the next Joy Division, they're now yesterday's news. But it's not all bad, there's some signs of life, just not enough to justify them being back. The band started beautifully with "Turn on the Bright Lights" and "Antics", a great one-two punch to the start of the career. They then released "Our Love to Admire" in which I'm in the minority for liking. Now having a chance to redeem themselves to their fanbase, they fizzle.

Musically the band is as good as they've ever been. Hard hitting drums, thumping bass lines and the usual kick ass guitar we've come to expect. "Success" followed by "Memory Serves" are a testament to that, and if you haven't gotten used to the weird vocal effects for Paul Banks by these two tracks, you won't enjoy this album at all. As unexciting as these songs sound, things start to pick up.

"Summer Well" through "Always Malaise (The Man That I Am)" are probably the best four sequenced songs in Interpol's canon. It's classic Intepol that channel the first two albums very well and helped earn them the new kings of post punk. First single "Barricade" is a chest thumper and as hard as a song as the band has written, it may be one of the best songs they've ever written.

Sadly, this album also contains one of the worst songs they've written. "Try It On" is one od the most boring turds of a song a rock band has written in years, it even makes me question if this was the same band that wrote "PDA". Luckily "All of the Ways" washes the taste out of our mouth, if only for a little while. "The Undoing" closes us out, and yet, we're stuck with another boring and weakly track that hust makes you scratch your head.

There's not much to say here. It's almost as if all the energy has been taken from the band in favor of piano and string sections. Not that that's a bad thing at all, but a band that had such fury and a knack for writing some of the best alt-rock songs of the past decade shouldn't flame out so quick like this. Maybe it's a drought and they can recapture the glory. But with former bassist and brainchild Carlos D leaving, we're left to wonder what could've been, but for right now, what was.

** out of *****

Thursday, September 2, 2010

Review: Philip Selway- Familial



Phil Selway is the most underrated drummer around. He stands in the shadow in the world's biggest band playing fiddle to Thom Yorke, the world's greatest lyricist, and Johnny Greenwood, a guy who has found ways to get the most out of his guitar in a Kevin Shields like manner. Drumming for the generations most important band might be enough for some of us, for Selway, he deserves more and gets more.

Over the span of ten tracks and just over a half hour, "Familal" doesn't overstay its welcome. For a side project from a drummer not known for much else, it's a reminder of the talent of not just Selway, but the band he backs. If that wasn't enough, enlisted are Pat Sansone and Glenn Kotche (the second most underrated drummer) from Wilco, frequent session musician Lisa Germano, and Soul Coughing bassist Sebastian Steinberg. Quite the murderer's row for a side project.

"By Some Miracle" opens the album and is a sign of things to come, following a simple formula that's shared on the rest of the tracks. Acoustic guitar, backing vocals, and Selway's great voice make it a tune that actually ranks up with the best that Radiohead has written. "Beyond Reason" follows and sounds more like Radiohead's "The Gloaming" with an acoustic guitar and no jazz breakdown, the band influence is there and pushes it to being the great track it is on the album.

"A Simple Life" and "All Eyes on You" are standard singer songwriter affairs, full with Nick Drake soft appeal and beautiful rich melody. "The Ties That Bind Us", originally featured on 7 Worlds Collide's "The Sun Came Out" last year is another highlight with stand up bass accompanying Selway's guitar and voice making it the stand out track on this album.

Unfortunately the album suffers from being top-heavy and the second half doesn't quite deliver to what preceeded it."Patron Saint" through "Don't Look Down" fall into each other without warning, making it hard to distinguish where one ends and begins. Album closer "The Witching Hour" all but makes up for it as it stands as a beautiful ballad and showcases the teriffic songwriting many of us did not know Selway was capable of.

"Familial" isn't anything we haven't heard before. It's standard acoustic affair, but rather than taint it, it's a nice surprise to find that the talents of the best band on the planet don't just lie on Mr. Yorke and Mr. Greenwood. In some ways, "Familal" is just as every bit satisfying as Yorke's "The Eraser" and Greenwood's soundtrack to "There Will Be Blood". It won't overshadow Selway's drumming, but maybe it'll make us appreciate it a little more.

*** 1/2 out of *****