CD Reviews
by Tommy Burton

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Feb 2005 - Apr 2005

Aslyn Lemon Love (Capitol)

Is Aslyn the new Dusty Springfield? The comparison is fair and certainly warranted with her English, blonde, blue-eyed looks coupled with her sultry and soulful voice. However, Aslyn is a bit more rock and roll. The production is squeaky clean along with perfect studio playing. Therein lies the problem for me: the music is too clean to really find its way under my skin. It’s bouncy and the melodies are certainly catchy as hell, but is it going to be worth hearing five years from now? "Ain’t No Love" has a sexy feel that might. The title track evokes The Beatles nicely enough. There are certainly moments elsewhere, but on the whole it never finds a home. Is Aslyn like Dusty? No. But she does settle for a nice version of Pink.

Beck Guero (Interscope)

Beck welcomes back the Dust Brothers and kicks out the jams for a rollicking good time. Comparisons to Odelay are in order and fair, but this one also manages to mix a little more of that melodic songwriting that fans have come to know and love. While this can’t be classified as an all-out party record like Midnite Vultures was (Guero is better), it is for sure happier than the understated Sea Change. All of Beck’s records merit repeated listens and I don’t think I am out line in saying that Beck is this generation’s Dylan. It seems that everything he does is important. Guero is no exception, but old-school Beck fans rejoice: he has two turntables and a microphone. Not as sample heavy as Odelay, but just as inventive and fresh.

The Bravery The Bravery (Island)

Techno dance beats mixed with guitars and moody vocals. Where have I heard this before? Ah, yes. Depeche Mode. And I’m pretty sure they did it better. Maybe The Bravery manages to be bit more punky and maybe even a little more upbeat. Nostalgic 80s fans should rush out and get this now. The rest of us will wait for the best-of collection.

Fischerspooner Odyssey (Capitol)

I like heavy synth sounds. The more analog and electronic, the better. I’m a sucker for that sound. Call it a weak spot. Turn out the lights and turn up the strobe light. It would also be cool if you had one of those "light speakers" that respond to the music’s beats. You could groove out totally. Then again, it could serve as odd background music for a late night party. The music is pleasant enough and it has enough interesting fiddlely bits to keep you on your toes. The nice (or negative, depending on how you look at it) thing about this music is that it never oversteps its bounds and keeps itself within parameters set by the opening numbers. A cool party record that probably should be played while in large crowds. A mix of Cake and Pet Shop Boys.

Ben Folds Songs For Silverman (Epic)

If Rockin’ The Suburbs was Ben dipping his toes into the waters of solo life, then Silverman is a full-blown dive. The novelty is gone, along with the goofy humor. What we have is set of full-blown pop songs worthy of Sir Elton and Todd Rundgren combined. We’ve always known that Ben is an excellent pop songwriter, but he’s always set it off with a little joke every now and again. This time, he gives us the full monty and deals a full house. I’m glad that Ben is here and I hope he’s around for a long time to come. This album is so solid that we don’t even notice when "Weird" Al makes a cameo on "Time." Maybe working with Bill Shatner has been good for Ben in showing us a depth that he’s only hinted at before. A super album from top to bottom.

Garbage Bleed Like Me (Geffen)

"Why Do You Love Me" is likely to be one my favorite singles. A driving beat and heavy guitars will always get my blood boiling. As far as Garbage albums go, this one is no exception. It’s a Garbage album. Since this a truly a supergroup of sorts, it’s nearly flawless in overall sound and quality. I love Garbage because Shirley Manson is a superstar and these guys aren’t afraid to layer guitars around her sweet voice. Bleed Like Me never breaks new ground, but the thing is solid as hell and fun to turn up in the car on an open highway.

The Reverend Al Green Everything’s Okay (Blue Note)

Thank the good Lord for allowing Al to sing rhythm and blues music again. Green has always been about that voice. Distinctive, soulful, and utterly irresistible. Pair that voice with the legendary Willie Mitchell and you get stellar results. If you dug 2003’s I Can’t Stop, then this will never disappoint as it continues down the same path of smooth R&B grooves and sexy songs. All the players are back. If there are any drawbacks, it may be that the song quality isn’t as overall as strong. But nobody can resist Al singing "You Are So Beautiful." This one is credited to "The Reverend" Al Green. Preach on, Brother.

The Kills No Wow (Rough Trade)

The Kills are trying to keep me on the edge of seat. They are trying so very hard. But it seems to fall right in the middle of a predictable road. The songs build up "Bolero"-style to a boil, but by the time they get to where they are going, I have lost interest. The guitars promise a garage rawness akin to The White Stripes, but they settle for so much less. I can respect trying to be different, but they never seem to never give the songs room to breathe. The effect is flat and leaves me empty.

Amos Lee Amos Lee(Blue Note)

Amos got to open for Bob (Dylan) and Merle (Haggard) on their past tour. A remarkable feat for a largely unknown artist. The spot is warranted with Lee’s strong singing and songwriting. It’s a perfect singer-songwriter album, as it never veers into straight folksy melodies or into alt-country waters. It also manages to keep a soulfulness to it, which makes it defy genre placement. It’s all about the songs, which is the way it’s supposed to be. The songs are presented in laid-back arrangements that never take center stage to what Lee is singing about. Another solid buzzworthy record of depth and beauty.

Glen Phillips Winter Pays For Summer (Lost Highway)

Yep. You’ve heard this record before. Many times. It’s another one of those slightly twangy Americana-style albums with songs about life and living it. Fine enough if you like that sort of thing (which I do sometimes), but I wish they would just try sometimes. Mmm-hmmm.

Lisa Marie Presley Now What (Capitol)

When Lisa released her first album, I said that I was curious to see how seriously she took this music thing and where she would go as an artist. It would be nice to report that she was wading in waters of originality and daring to tread in new areas. She writes her own material and her lyrics have some cool things going on, but she seems to want to stay safe while trying to shock at the same time. Linda Perry had a hand in making this record with Lisa, and her mark is all over it. Presley sounds like she is just trying too hard. Maybe she will one day make that album that strips away all the gloss she hides behind and shows us a true original artist. Until then, stick to your old Sheryl Crow records. Crow is a better singer and writer anyway.

Mary Gauthier Mercy Now (Lost Highway)

Mary’s on the cover of the latest issue of No Depression magazine and rightfully so. She encompasses all that good about this so-called alt-country music scene with acoustic-based songs depicting all facets of life. Her songwriting is rooted in stark realism coupled with observing beauty. She holds her own with writers like Calvin Russell and Townes Van Zandt. Strong is a word that comes to mind when listening to Mercy Now, but the songs are not always overbearing. She knows when and where to pull out the big guns. Mary’s writing is very solid, and the entire record is very even in quality and production. Everything is appropriate, from the words to the sound of the acoustic guitar. It’s very easy for an album like this to go under the radar, but it makes it all the more sweet when you discover it.

Handsome Boy Modeling School White People (Atlantic)

This album opens with a speech from Father Guido Sarducci, and the group is named after a bit from Chris Elliott’s TV series Get A Life. It’s a funky and fun record full of guests ranging from De La Soul to Mike Patton to Tim Meadows to Cat Power (among many others). It’s a perfect mix tape in the truest sense of the word. There’s something here for everybody. The album is interspersed with little bits that are very reminiscent of Andre’s Love Below, which isn’t a bad thing. With this many people, you would think that the whole things comes off like a bad imitation of MTV’s Party To Go, but there’s a quality that prevails that compels the listener to return again and again. It goes way further than simple novelty. The record keeps dodging enough that it never settles into redundancy. The entire thing represents what good things are happening in mainstream modern music. There’s a strong buzz on this and you can believe the hype. It’s a concept party album.

Petra Haden Sings: The Who Sell Out (Bar/None)

By far one of the strangest records to see major release. This is Petra Haden (of that dog. and The Rentals fame) singing a cappella versions of the entire Who Sell Out album. The idea was planted by Mike Watt. He gave Petra an eight track and two cassettes, each one containing one side of the classic Who album on the eighth track. He told her to fill the rest up. She was unfamiliar with the record when she embarked on the journey. So here are the results. The whole thing is crazy enough that it works on some level. She faithfully reproduces each sound and nuance of the original album. Her voice is really pleasant. However, some of it lacks the power of the originals, while some of it really adds a certain clarity. The highlight of the entire ordeal has got to be "Our Love Was," but I think that that track was one of the highlights of the original for me. Die-hard Who fans might find this sacrilege, but I find it heartwarming and highly original. If you are not a Who fan, you might find this little more than a curio. Others might find the lo-fi four track quality a little off putting. As for me, I’m sold. I wish more artists would do projects like this.

Matt Sweeney/Bonnie ‘Prince’ Billy Superwolf (Drag City)

Matt Sweeney did the music and Will Oldham wrote the words. The result is an odd gospel album of sorts. Not quite as eccentric as Oldham’s other projects, but what really is? The entire record is timeless and could be calling from thirty years ago as easily as it could be calling from this morning. It manages to reach deep within and tug at a place in your heart that you never really knew was there. It'’s equally dark and inspiring. Fans of Oldham will find this release refreshing. Others might simply find it. Either way, this record needs to be heard by anyone who likes good writing and music.

Bright Eyes I’m Wide Awake, It’s Morning & Digital Ash In A Digital Urn (Saddle Creek)

Released on the very same day, these are two very albums. I’m Wide Awake is the songwriter’s album, not that Digital Ash isn’t, but I’ll tell you the difference: Awake is guitar-based songs. It kicks off with a straight up sing along. Digital Ash is just that: it’s a fucked up dance record. Put these together and you’d hardly guess they were by the same artist. However, they are. And they manage to be equally good. I’m always leery of artists who release two albums at the same time. It seems like you can combine them to make one solid record. Or why didn’t they just do a double? These are definitely two separate entities to be judged individually. Get them both and enjoy them both, because you will.

They Might Be Giants Here Come The ABCs (Disney Sound)

Another kids record. This time about the alphabet. I don’t know if I’m the proper judge, but I can tell you that my six-year-old daughter loves it. I like it. If you have kids under six, then this is sure to be a hit. Go one step further and get the accompanying DVD with animations for each song. Each song is very catchy and they are all fun. TMBG never fail to bring the special goodness.

Ben Lee Awake Is The New Sleep (New West)

I have to be honest: this was Brother Ben’s last chance for me. His last two records have done nothing for me. When I heard that he was working with producer Brad Wood again, I got my hopes up for this record. Acoustic-based pop songs that don’t wallow too much in their own cleverness is what I got. Ben and Brad came through. Of course I know the record wasn’t made for me, but I am glad that it is good. The entire thing is maybe a little too laid back for happy fun times, but the songs are really good. They also feature members of Rilo Kiley and Jason Schwartzman. A little help from friends never hurts. The songs are all Ben’s though, and they deliver. The album is never a grand slam, but it does manage to hit all the right spots and makes for a great listen. Fans of pop songs are sure to eat this up, and well they should. It’s good candy.

Stephen Kellogg And The Sixers (Universal)

Welcome to the new rock, which sounds a lot like the old country with louder guitars and harder drums. The latest strum and twang cross between Neil Young and Wilco. They’ve even thrown in some electronic beats to throw off the hard core alt-country fans. The songs are all fine enough, but they never just really find their way under your skin. There are even a few moments when the albums breaks out from under its own weight, but never enough to warrant a purchase. It’s all pleasant enough. This album might appeal to people who like to put records on in the car, but it can’t reward repeated listens. These guys got a major record deal. Maybe I’m just jealous. Good luck, guys.