Lucinda Williams has never been shy about being personal in her music and her latest confessional opus – West – is no exception. Almost a carbon copy of 2001’s Essence in melody and lyrics, West is a notebook of slow moving hymns that run through themes of both losing and finding love.
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.
Antibalas, the horn and percussion driven Brooklyn collective, is best known for their energetic afro-beat grooves that channel the legendary Fela Kuti. But with careful attention to refining their sound—adding distinct Latin, jazz and funk elements—the group has emerged as a well-rounded and diverse sonic force. On Security, they demonstrate their growth, with the capable guidance of producer John McEntire (of Tortoise and The Sea and Cake fame), post-rock pioneer and a consummate shaper of dynamic soundscapes.
Instead of St. Bart’s or St. Tropez, Sexotica could very well be the next hottest jet-set journey. The quartet led by Steve Bernstein on trumpet has released an album, Sexotica, on Thirsty Ear Recordings, basing the disc on Martin Denny’s “Exotica” recordings.
Memphis the Band’s Radio truly has a fitting title. Most of the songs contained therein could be played on any generic radio station.
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.
Calamity works as an eccentric hodge-podge of quirky pop songs, avant-garde sounds, and out-of-nowhere, straight forward, shed rock.
He will not remain undiscovered for long. James Morrison’s debut album revamps the heyday of soul with a voice reminiscent of Stevie Wonder– but with a cleaner, crisper sound thanks to today’s technology. At a young age, this English soul singer turned to music as a way of channeling a painful upbringing – the result is a positive yet openly raw deliverance.
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.
With way too many questionable tracks between the truly magical gems, Mos Def’s True Magic falls a bit short of his more impressive works like Black Star or Black on Both Sides.
