blackleatherbookshelf: (Flames)
Throw a Handful of Glitter in the Air
4 Out Of 5 Stars

Doylestown, Pennsylvania's greatest musical export has earned a spot of artists worthy of a solid "Greatest Hits...So Far!" Initially a teen-pop sensation (as shown by the easy to digest party anthem "Get The Party Started," she ultimately broke free of that label and came to the front of female rockers with both a mature voice and viewpoint. She was soon tackling songs about family discord and political commentary.

This diversity serves her well. The tongue in cheek "So What," tackles the over the top world of stardom yet it is soon followed by the emotional masterstroke of "Glitter In The Air," The pointed "Dear Mr President" expresses her political views with help from the controversy friendly Indigo Girls. I like that Pink isn't scared of a fight, be it the fictional one she uses on an unwanted suitor in the funny "U and Ur Hand" or the confused little girl of "Family Portrait." She is a multifaceted performer and - if you've ever seen her live - dynamic on stage.

You'll find it all here. The confessional of the bonus track "F---ing Perfect" or the affirmation of "Raise Your Glass," the second of the extra songs. She does it all, from hard rocker to thoughtful. "So Far!!" is an apt title, as her latest album "The Truth About Love" carried her farther along her path to artistic validation. Just one more point; the Parental Advisory" label is warranted in this case as there are plenty of F-Bombs to annoy the ears of the sensitive.


     
blackleatherbookshelf: (Flames)
Oh My Lorde
4 Out Of 5 Stars

New Zealander Ella Yelich-O'Connor (aka, Lorde) comes on like Adele or Lana Del Rey with big beats on the debut "Pure Heroine." Hard to believe that such a big voice is coming from a teenager, but she has the depth and blue-eyed soul power of women two times her age. Match that big voice up with some hip-hop percussion, and you have some potent combinations. The whole album is a solid from start to finish, although you can't beat the singles for pop thrills.

By now, you've likely heard "Royals" and "Team," with their seductive grooves and shimmering electronic sound. This is teen-angst at its best, and Lorde plays her age to the maximum. She has the knack for teen girl melodrama like Del Ray (or to court another teen sensation, Taylor Swift), as seen in "White Teeth Teens" or the saga of high school class strata in the opening "Tennis Court."

"Baby be the class clown,
I'll be the beauty queen in tears,
It's a new art form,
Showing people how little we care."

She has mastered both the yearning want and detached view of a typical teen, and the music matches her personality. "Glory and Gore" serves as more than a song title, it's the way Lorde pushes at her material. She's self-confident, of solid voice and the will to attack her subjects head on. It takes a special kind of new songwriter to have mastered these multiple personalities the way Lorde does, and she has done so here. "Pure Heroine" keeps the music in a match to the singer, the background throb of the electronics to the self searching and expressive lyrics of her debut. There's a huge potential for growth here.


   
blackleatherbookshelf: (Flames)
Arcade Fire Loosen Up
3 Out Of 5 Stars

Arcade Fire find themselves stirring up emotions and dance floor beats on their double CD, "Reflektor." As the most famous band of their beloved Indie scene, they have to contend with being the little band that could, as in could win a Grammy for Album of The Year ("The Suburbs"). Their answer? To invoke Orpheus and the failed love to Eurydice (she's the image of the cover art), bring in Haitian musicians to lay down some serious grooves, let David Bowie sing back up (the title track) and make what feels like their least densely produced album of their career. If anything, it frequently reminds me of how Talking Heads sounded when they used "Speaking In Tongues" to open up their overall sound.

"If there is no music in Heaven, then what's it for?" bemoans Win Butler on "Here Comes the Night Time" (the first part, the second opens disc two as a dirge), and he's here to celebrate. That means giving "Reflektor" over to James Murphy of LCD Soundsystem to make the grooves pop. Granted, this isn't Saturday Night Fever, but the percussion and bass drive better than half the album. Eurydice and Orpheus tangle again on twin songs "Awful Sound" and "It's Not Over" to again invoke their tragic love before moving onto other topics. Like "Porno." Not as bad as the title implies, it's a slower tune that contemplates the simplistic ways that men misinterpret love, like "little boys with their porno." Yes, Arcade Fire may be loosening up, but that doesn't mean their lyrics have gone soft.

Which is what makes "Reflektor" a pretty good album. Arcade Fire are still finding ways to get their sound to new places without losing their identity. If I have any gripes, it's that the expansive grooves seem to often come at the expense of over-lenghty songs (some judicious editing - like the 5 minutes of drivel at the end of "Supersymmetry" - could have made this a single disc), and the album packaging comes with lyric sheets that tore as soon as they got caught on the CD's. But that's hardly a fault to Arcade Fire. I'd gladly take a two CD set of music this ambitious than a single disc of poorly thought through laptop pop. So go ahead, dance to a song about dying (the New Order-ish "Afterlife") till "we work it out."


   
blackleatherbookshelf: (Default)

FunhouseIt's Never Too Late to be a Bad Influence
4 Out of 5 Stars
 
What has amazed me about the music of Pink is how she has just kept getting better as the albums progress. "Funhouse" is a raging mass of goofy charisma, heartbreaking ballads and Joan Jett attitude. Not bad for someone who started off making giddy, disposable pop. And I think she knows it.

Otherwise, how could you explain the snotty, tongue in cheek "So What (I'm just a Rock Star)" that opens the album? Or the equally cool "Bad Influence"? Granted, this is also her post-divorce album, so maybe she's just ready to go be a bad girl and vent some steam. Which is also what makes the title song, a kiss-off of funk, such a hoot. Comparing your break-up to a room "full of evil clowns" borders on brilliant.

At the same time, her voice gets stronger on the ballads, like the Stevie Nicks' influenced "Crystal Ball." Then there's the show-stopping "Glitter In The Air," which could be her strongest to date. Anyone who saw her powerful performance of this song on The Grammys this year may remember it as one of the show's few musical highlights. As someone I pretty much thought would be gone by now, Pink just keeps upping the ante.
blackleatherbookshelf: (Default)

Ultimate SantanaSo So Santana
4 out of 5 Stars

This would be a three star compilation if not for the Tina Turner version of "Play The Game," which blows the Michelle Branch version out of the water. It also shows up why this "Ultimate Santana" is overall a weak collection. Santana has made some of the most incredible fusion of styles out of the many 60's and 70's guitar gods, but by the 80's and 90's, he was churning out mediocre albums on a regular basis. You'll note that - other than the three big early hits "Black Magic Woman," "Oye Como Va" and "Evil Ways," his Columbia albums are absent from this set. That is because Clive Davis took a chance on signing Carlos to Arista, then shepherded Santana into a studio with a clutch of guests to record "Supernatural."
 
Carlos rose to the challenge, hooking up with talent that was worthy of his skills (Eric Clapton) and some that made him sound modern to the times (the inescapable "Smooth," with Rob Thomas). It was a flawless album that deservedly brought Santana back to commercial prominence and won a slew of Grammys (ala Bonnie Raitt's "Nick Of Time").

Supernatural (Legacy Edition)Unfortunately, that made everyone try to re-bake the cake for "Shaman," a much lesser effort that essentially turned Santana into a guest on his own album. Ditto for "All That I Am." Frankly, Chad Kroger of Nickelback doesn't merit the honor of carrying Carlos' guitar cases, yet here he is, singing "Into The Night." And while Santana's music may have inspired hip-hoppers and rappers, that doesn't mean they share his virtuosity. So Baby Bash or The Product G&B tracks? Phooey. Listen to the actual soul that Tina Turner invests in her song, and then listen to Jennifer Lopez. Like Santana, Tina has the goods. many of the rest of these "Ultimate" guests? Not so much.
blackleatherbookshelf: (Default)
Nick of TimeTime and The Nick of Time
3 out of 5 Stars

The stars aligned for Bonnie Raitt and her tenth album. A new record company (Capitol) that was hot to break her after a couple decades of cult status, a hot producer (Don Was) and a batch of songs tailored to her rough but tender pop-blues style. Combined with a couple great videos (especially Dennis Quaid in "Thing Called Love"), things just seemed right. Suddenly, "Nick Of Time" started selling in tonnage and Bonnie Raitt jumped from critical darling to stadium act. Add that the self-penned title song captured a worried baby-boomers' aging zeitgeist, and the album suddenly became Grammy bait. (See also Genius Loves Company and Raising Sand.) After all, the academy loves a good comeback story if the music is as firmly middle of the road as "Nick of Time."

Was helped in that department by smoothing everything up to a fine polish. If you compare Raiit's gently rolling "Thing Called Love" to John Hiatt's spiky original, you'd see what I mean. Fellow cult singer Bonnie Hayes got a sudden rush of exposure by having two songs included, the sweet "Have A Heart" (plucked as the theme to a Bob Hoskins movie) and the surly "Love Letters." Jerry Williams' "Real Man" also highlights Raitt's smooth, honest style. The original first half of the album remains a flawless set. It sent Raitt home from the 1989 Grammys with a pack of awards, including album of the year. It also set up the successful pattern for following albums, including the delight of Luck of the Draw.

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