Somehow Todd Carey is still a relatively unknown singer-songwriter, so it’s rather appropriate that he’s titled his latest release, Watching Waiting. With undeniable song hooks, a lively range that reflects his sunny optimism, and most importantly – a real way with a six string, Carey is a versatile live talent that can rock his way to pop stardom with just a couple of lucky breaks.
With a clearly undersold US Airways Center for The Who, following a Tuesday night’s sold out serving of Bob Seger, the The Who’s name couldn’t have been more relevant in Phoenix. Hello? The Who just happen to be a title contender for the “world’s greatest rock band ever” – right up next to The Beatles, Rolling Stones, Led Zeppelin and Pink Floyd. Who know, maybe it’s just a Wednesday night thing. However, this is The Who, and whether its rock operas, drug overdoses, operatic falsettos, windmill guitar riffs or the long awaited new album (Endless Wire), The Who’s name speaks for itself.
With their studio debut Recollection, The Assembly of Dust have made their Workingman’s Dead. Like the classic 70’s country/western themed album, this ten song collection is also influenced of the multi-talented musicianship and country/rock themes of The Band and the jazz-chops of Steely Dan. Front-man and self-described “verbal storyteller” Reid Genauer effortlessly evokes a film before your eyes, with his narrative lyrics, endearing the words of Robert Hunter.
From the opener, “Can't You Hear It Call,” which borrows a riff directly from the Stones' “Brown Sugar,” merged with a heavy modern flair of The Dandy Warhols, The Colour come off a bit low in originality. But where they lack in innovation, the L.A. quintet shines in swagger and energy. With that formulaic mix, their debut – Between Earth and Sky- might have been better appreciated five years ago; a time when the rock revival thing, courtesy of The Hives, Vines and the Strokes was the “new” sound.
On the heels of the release of their two most recent albums, Jesse Sykes and Sparklehorse made it a lively Tuesday night at the Clubhouse.
Two words best describe the quartet’s sound – groove and hook. Albarn’s tinkery piano chops, combined with his suave British crooning, joined at the hip with Simonon’s dub bass lines, make The Good, The Bad & The Queen an identifiable weapon.
Although Wincing the Night Way may not offer much to grab onto lyrically, The Shins have created a new wall of sound that will surely keep them relevant and James Mercer as just another guy in The Shins.
Has My Morning Jacket ever evoked a negative word from anyone? From a revered late night Bonnaroo performance, to countless year end best of lists for 2005’s Z, to the accolades for 2006's live Okonokos, the Kentucky rockers can’t fathom a “this sucks” from anyone.
Back when Neil was better known as the “Young” in Crosby, Stills Nash & Young, Neil delivered his pre-grunge outfit, Crazy Horse in all their earnest glory at New York City’s Fillmore East on March 6 & 7, 1970. Released as Live at the Fillmore East, this marks first release of the Young archives series.
With bold song-writing talents and multiple creative endeavors, Will Oldham, aka “Bonnie Prince Billy” could have very well had his coming out party years ago, but instead like his subtle voice, he prefers to linger in the background. His lush symphonic daydream The Letting Go, travels in old time Leonard Cohen territory, that doesn’t stray far from Damien’s Rice’s emotive folk.
