Direct is exactly what you get when listening to Obits’ second studio release Moody, Standard and Poor. There’s no questioning the foursome’s lean edged gritty basement party-with a flickering light type of sound, except possibly the title of the album.
Just two months past their 12th anniversary, Soulive continues to evolve within the trio configuration it seems that each couple years brings a new feel and invigorated sound.
If you’ve ever seen and heard Warren Haynes perform Otis Redding and Delbert McClinton covers, you know he has more than a passing interest in both soul and rhythm and blues. But the passion in this man’s singing on “Save Me,” the final cut on Man in Motion, borders on desperation: arguably the most confessional vocal he’s ever done, this single performance alone is enough to redeem the inconsistencies that otherwise afflict the exercise in style that constitute his second solo album.
The beauty of live performances is you take everything as it comes. If an artist flubs a line, misses a chord or hits the wrong key vocally, there’s no going back. A lot of “live” albums, however, fall short because they use a number of production tricks to cover over mistakes, or to make the audience sound louder than they really are, so they end up sounding disingenuous and in a way are a waste of time. Brandi Carlile’s new live album, thankfully, does not use these tricks and the performances are pretty damn great as a result.
The long drawn and epic introduction to “Last Known Surroundings,” the first song off Take Care… is undoubtedly the highpoint on an album that, despite its predictably frequent moments of euphoria and jubilation, eventually fizzles out with barely a whimper. Is it time for post post-rock already?
All props to Chamberlin as an engaging young band, but they may not have done justice to themselves or their music in the small room at Higher Ground, due in part to the sound in the house and an odd choice of material.
First, the good news: Bob Dylan Revealed features an abundance of anecdotes certain to satisfy some of the most hard-core Dylan fans.
When recording their new album Collider, Roberts decided to challenge the band by moving the process to Chicago. Instead of recreating the searing rock n’ roll vibe of their live show, Roberts pushed forward in an attempt to expand and diversify the band’s sound. Califone percussionist Ben Massarella and Antilbalas woodwind player Stuart Bogie served as honorary band members during the recording process and allowed the band to branch out in search of a more refined, cohesive sound.
Whatever happened to The Strokes? The scruffy – albeit slightly manufactured – indie sensibilities used to work for them, with raw instrumentation being complemented by the melodic and laidback vocal delivery. But Angles seems to have sacrificed some of the more uncultured garage leanings for a speculative new sound which doesn’t quite do justice to the musicianship on display.
It is always exciting when a band steps out of the recording studio to showcase some new tunes live and Alberta Cross did just that on Wednesday night in the middle of Manhattan.
