Although not for everyone, Harps and Angels is 34 minutes of sharp-witted commentary by one of America’s most original lyricists. Brainy ones will surely find this one mighty clever.
When Elliot Martin, lead singer of the progressive reggae band, John Brown’s Body, had throat surgery in early 2008 to remove polyps, one might think a laid-back set of songs could be in order. Nothing could be further from the truth on Amplify, the band’s newest album, which features 12 new tracks, highlighted by the beats of the opening title track and the inspiring “Give Yourself Over.”
Intense, organized chaos can make some beautiful music. Wilco has achieved this with songs like “At Least That’s What You Said,” “I Am Trying to Break Your Heart,” and “A Shot in the Arm,” to name just a few. And while Gentleman Auction House isn’t as established as a band like Wilco, their newest album, Alphabet Graveyard, has that mystic and iconic Yankee Hotel Foxtrot feel to it,
his seven song EP from Brooklyn by way of a Connecticut duo is something fierce. Their sound is rooted in the blues while coming blistering alive in the vein of DIY garage rock, from the gut wrenching “Wayward Son” to the funky-strumming-intro of “51 Weeks and 7 Days,” until they kick down the barn door lighting the place afire with crashing cymbals and broken strings during “These Bones.”
Carried to Dust, their fifth full length, serves as that picturesque medium, transforming the lonesome southwest landscape, creating the illusion of a lost highway nestling through cactus, ghost towns and the war between good/evil.
This is not the Elvis that made young girls scream (although he surely made plenty of middle-aged women scream), but it's a farther cry from the Elvis that died with so much bacon fat and prescription drugs in his system that he couldn't even sustain a bowel movement. In 1968, even if only briefly, he was the King.
Besides the witty title this has nothing to do with David Bowie but a lot to do with another White Duke: Trent Reznor. The Nine Inch Nails guru tapped Saul Williams to open for him and the two hit it off with Reznor producing and contributing most of music and arraignments to this effort.
Although Dixon’s piano/improvisational chops have been known for stretching it out a tad far (2002’s On A Rolling Ball), this self titled release by The Gabe Dixon Band shines in the leader’s concise songwriting and spirited harmonies. Bandmates Winston Harrison (bass) and Jano Rix (drums) provide a session element that gives the songs a polished gleam.
Recovery continues Wainwright's growth as a performer. For those familiar with Wainwright's work it's an album that illustrates his best work is still ahead of him and for those unfamiliar with him, it will introduce them to a singer/songwriter possessing an unapologetic wit and a knack for good melodies.
The influences are obvious with the Killer B’s: The Beatles, The Band, The Beach Boys, and these boys fit perfectly in the midst of the current indie-hippy revival alongside Dr. Dog, Cold War Kids, Hymns and a host of others.
