Sunday, March 26, 2006
Concert: Billion Stars
I went to Psychedelic Furs singer Richard Butler's solo show at the Canal Room last night (Mar. 25). There was an opening act who I think is called Billion Stars, a trio with a singer, bassist, and keyboardist. Although its set was short, maybe four or five songs, Billion Stars sounded pretty interesting: an amalgam of pop, jazz, soul, and hip-hop. Unfortunately I didn't catch what the songs were actually about or the individual members name. Tried to find out if there was a web site but no such luck. Anyway, here are some photographs of the group (If anyone knows who they are, drop me a line):
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# posted by NewBeats @ 6:18 PM
Saturday, March 18, 2006
CD Review: Arctic Monkeys
Arctic Monkeys
Whatever People Say I Am, That’s What I’m Not
Domino
By David Chiu
One has to be weary whenever a band is touted as the “next big thing” because it usually mean a short shelf life (Does anybody still remember Jobriath? Klaatu?). Sheffield, England’s Arctic Monkeys maybe the exception. Already this album has burned up the British charts; their shows have been sold-out affairs, including the States; and they were recently on Saturday Night Live. Such fanatical adoration might be justified given the punkish/metal aggression, jagged rhythms, ironic lyrics, and the blunt and shouting vocals of Alex Turner. The Monkeys may sound a bit like Franz Ferdinand (both are on the same label), although they a little rock harder. Whatever contains all rockers and no momentum killing ballads (save for the sobering hangover effect of “Riot Van”), from the exuberantly catchy “I Bet You Look Good on the Dance Floor” to the ramshackle “A Certain Romance.” There is also a dark, satirical edge to the some of the cigarette-and-alcohol soaked lyrics (“She don’t do major credit cards, I doubt she does receipts” – sings Turner on When the Sun Goes Down’), in addition to the interesting song titles that alludes to their heroes the Smiths. Maybe the dark horse star of this album is drummer Matt Helders—his all-over-the-place playing seems to drown out the wall of guitars in front of him. Worth the hype? That remains to be certain. Even without this tremendous attention from both fans and critics, the music stands by its own merits, assuring that this won’t be the last time we’ll be hearing from Arctic Monkeys.
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# posted by NewBeats @ 5:01 PM
CD Review: Cheap Trick
Cheap Trick
Dream Police
All Shook Up
Epic/Legacy
By David Chiu
It might be considered one of rock’s interesting what ifs: Would Cheap Trick’s career turned out differently had its 1979 Dream Police album was released on schedule rather than following the surprise left-field hit Live at Budokan. Riding on the momentum from the first three albums, Dream Police was supposed to signal the Rockford, Illinois band’s arrival. Instead the record was held it back and became more of an afterthought as “I Want You to Want Me” rode up the charts.
Regardless of the bad timing, Dream Police is a masterful album (it did enter the Top Ten) that is an extension of the ambitious sounds sculpted on the previous Heaven Tonight. Mad strings play an important role in the development of the classic title track and the disco-fied epic “Gonna Raise Hell,” (an allusion to the Jonestown Massacre). Another uncharacteristic side of the band is the lush ballad “Voices” whose scintillating melodies seem to linger. Such anomalies don’t compromise what the band usually does best as evident on the breathless rocker “Way of the World” and “The House Is Rocking (With Domestic Problems).” Closing out Dream Police is the Gothic-sounding “Need Your Love,” which is not much different from the live Budokan version minus the screaming Japanese crowd.
The ambitions of the Dream Police album carried over to even greater heights onto Cheap Trick’s next record All Shook Up (1980). Employing Beatles producer George Martin was a coup and perfectly matches with the band’s melodic sensibilities. Some of the tricks (no pun intended) used on some of the tracks include a multi-track drum choir (“Just Got Back”), strings ("Stop This Game") and special effects (the roboticized voice on “High Priest of Rhythmic Noise"); there’s even a nod to world music on the “We Are the Champions” -wannabe “Who D’King.” Despite the studio experimentation, All Shook Up is a rocking album with some explosive tracks including “Baby Loves To Rock,” the country-inflected “I Love You Honey But I Hate Your Friends” (which is easily a song for either Rod Stewart or Shania Twain), and “Love Comes a Tumblin’ Down.”
Although it doesn’t measure up to the brilliance of Cheap Trick’s first three studio records, All Shook Up is one of the misunderstood albums in the group’s discography; What makes this reissue all the more special is that it features the entire four-song Found All the Parts EP (1980) on a CD. (Previously you had to go to the band’s web site to download the tracks). It includes a spirited Beatles cover, “Daytripper”; the slow burner “Can’t Hold On”; the dramatic-sounding “Such a Good Girl”; and the romantic “Take Me I’m Yours,” which according to guitarist Rick Nielsen in the liner notes, Bryan Ferry did a demo of the track. The addition of the EP has now made what was a decent Cheap Trick album into a better one. Of special note, this would be the last album featuring the original classic line-up until the 1988 comeback Lap of Luxury.
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# posted by NewBeats @ 4:55 PM
Friday, March 17, 2006
CD Review: David Gilmour
David Gilmour
On an Island
Columbia
By David Chiu
While fans wait and wonder on when the next Pink Floyd record since 1994’s The Division Bell will ever see the light of day, guitarist David Gilmour’s third solo album will have to do. On an Island is by no means a significant departure from the sound Gilmour forged in the band—his airy vocals, the relaxed atmospherics, the obligatory long instrumental introduction, and, of course, his signature wailing guitar—are quite present. A couple of the songs will even remind one of old Floyd: “The Blue,” for example, sounds like the long-lost number on Meddle, while the jazzy “Red Sky at Night” (with Gilmour on sax!) could find its place on Wish You Were Here. Despite a few aggressive tracks in “Take a Breath,” the rest of the record is very reflective and somber—the New Age sensibilities could rival that of Enya’s. (Gilmour’s wife, the journalist Polly Samson, shares co-writing credit on a few tracks, although Gilmour’s best collaborator in the lyrics department will always be the band’s former visionary Roger Waters). Gilmour does for some moments break away from the confines of the arena rock he has been renowned for with the folk blues of “This Heaven” and the waltz-like “Smile.” His guitar playing remains ever magnificent, particularly on the title track and “Pocketful of Stones”—it has a lyrical language of its own. In spite of an all-star cast of musicians that included David Crosby, Graham Nash, co-producer Phil Manzanera, Robert Wyatt, and old Floyd band mate Richard Wright, On an Island is a relatively low-key, intimate record without the spectacle that has always marked Pink Floyd’s later albums—that could disappoint a few fans. If it was intentionally made that way, then it’s also quite respectable.
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# posted by NewBeats @ 6:54 PM
CD Review: Electric Light Orchestra
The Electric Light Orchestra
No Answer
ELO II
Epic/Legacy
Byt David Chiu
The first new batch of Electric Light Orchestra reissues in five years, No Answer (1971) and ELO II (1972) were far from the accessible three-minute pop masterpieces crafted by mastermind Jeff Lynne a couple of albums later. These first two-albums are one of the examples that characterized ‘70s art rock: some flashes of brilliance and moments of excess.
Formed from the ashes of the Move, Electric Light Orchestra was one the first bands that prominently integrated a string section (and a French horn player, mind you). The debut album No Answer (titled after a miscommunication over the phone on how the album should be named) is one case when you have two studio rats let loose over the control boards—in this case, Lynne and multinstrumentalist Roy Wood. The record is a bit over the place and whose baroque, almost antiquated, sound evokes modern classical music and the sounds of 1920s English music hall—the album’s best tracks are “10538 Overture” and the Gershwin-like “Mr. Radio.” Wood’s cello playing dominated most of the record, as Ian MacDonald’s mellotron was signature to King Crimson’s debut; a song he wrote, “Look at Me Now,” is very similar to the Beatles’ “Eleanor Rigby.” The music was light years away from the guilty pop pleasures of “Evil Woman” and “Mr. Blue Sky,” but the seeds for those successes were already planted during No Answer.
Given that both Lynne and Wood were ambitious singers, songwriters, and ideas men, it was inevitable that they couldn’t be in the same band. By the time of the second album, Wood packed his cello and other instruments to form Wizzard, leaving Lynne to run the entire ELO show to this day (it also marked the presence of keyboardist Richard Tandy). He probably wanted to go one up on Yes and Emerson, Lake, and Palmer in the extended songs department with ELO II. That album boasted only five cuts, each of them over six minutes long. While most of the tracks could use a good editor, songs like “In Old England Town Boogie” and the handsome “Mama” hold their own. The powerful 11-minute finale, Kuiama, has an anti-war message that is chillingly prophetic. ELO II may be best known for its rollicking cover of Chuck Berry’s “Roll Over Beethoven,” bookended by the intro to Beethoven’s Fifth Symphony. Ironically, one of this reissue’s bonus tracks “Baby, I Apologize,” is a simple pop ditty that would be a harbinger of the group’s pop-friendly future.
The first two albums serve to explain how the ELO story began, despite some of their excesses, the artistic ambitions and use of classical music are quite revolutionary. The magic, of course, would come a few albums later with Face the Music, A New World’s Record, and Out of the Blue, which hopefully will also be reissued.
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# posted by NewBeats @ 6:45 PM
CD Review: Essential Irish Drinking Songs and Sing Alongs: Whiskey in the Jar
Various Artists
Essential Irish Drinking Songs and Sing Alongs:Whiskey in the Jar
Legacy
By David Chiu
A great Irish drinking song is the perfect way to top the merriment in a tavern, or any Irish home, on St. Patrick’s Day.Essential Irish Drinking Songs and Sing Alongs: Whiskey in the Jar quite nicely. The material ranges from traditional tunes by the legendary acts the Clancy Brothers and the Dubliners to contemporary rockers like Dropkick Murphys (the punkish “The Dirty Glass”) and the Pogues (the live “Dirty Old Town”). The stirring tunes are not surprisingly boisterous, while others, including the immortal “Danny Boy,” sung here by Frank Patterson, evoke the sense of home and tradition that has always characterized the great Irish song and Celtic pride. (I recently spoke to someone of Irish descent from the tri-state area who remembered seeing the Clancy Brothers and Tommy Makem on the Ed Sullivan TV show in 1961 and how much that evoked pride in his roots). This 2-CD set should sit alongside a good corned beef and cabbage meal and a pint.
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# posted by NewBeats @ 7:04 AM
Interview: Trevor Hall
Trevor Hall: Mature Beyond his Age
By David Chiu
Not many 19-year-olds fresh out of high school would say they toured with major music acts like Steel Pulse, Jason Mraz, Ben Harper, Keb Mo, and the Wailers.
Then again, there are not many 19-year-olds like Trevor Hall. Originally from Hilton Head, South Carolina, Hall has been involved in music as both singer and songwriter since his teens. For his 15th birthday present by his parents, Hall was given studio time to record an album. The person who owned the studio was so impressed by this wunderkind’s talent that he became Hall’s manager.
With a distinctive and gritty, older-than-he-sounds voice similar to Dave Matthew’s, Hall is a poster child for the eclectic styles that has been influential on him: folk, hipo-hop, pop, and reggae. His songwriting also defies the notion of adolescent angst but reflects a maturity and worldwide view beyond his age.
Hall, who is now settled on the West Coast, has just released his four-song EP on Geffen Records titled The Rascals Have Returned, which was produced by John Alagia (Dave Matthews, Jason Mraz, and Liz Phair). It also boasts an impressive cast of players including drummer Kenny Aronoff. Not a bad start for a budding musician.
Currently Hall is in the fortunate circumstance of being on tour with the growingly-popular Hasidic reggae rapper Matisyahu, where both artists are playing to sold-out shows. He spoke to NewBeats via phone from New York to talk about his career and music.
Trevor, how has it been so far being a major label artist at only 19? It’s been an adjustment not going to college and trying to work straight out of high school. It’s interesting and a learning experience. It’s going good and I couldn’t ask for anything better. I’m having a good time so far.
Does it seem like too much too soon?
It hasn’t been too overwhelming. There are some points where you have to make big decisions. You got to go with your gut and surround yourself with good people.
How did you hook up with reggae star Matisyahu? His manager and my manager talked a bit. We were both at Sundance Film Festival. I was playing in an art gallery and he came down. At the end of the last song I played, he was like, ‘Do you mind if I come up and sing with you?’ And I was like, ‘Hell yeah man!’ We sang together and afterwards we just talked and he said, ‘You should come and tour with us.’ It worked out.
Who were you listening to growing up? When I was 11, I was all about Whitney Houston and stuff—Earth Wind and Fire.Then I started getting into punk rock when I was 13. Then I grew out of that when I heard Ben Harper for the first time, and I was like, ‘Wow, that’s what I want to do.’ Then I dove into reggae, that was big to me. That was like, ‘Man I should really write tunes.’ Then I got into Bjork and Radiohead.
What was it like touring with the Wailers?That was killer. I got to meet some of the original Wailers. It was cool to share the stage with them. It was definitely a blast.
At what point that you decided to make music a career?I never thought of it as a career. I was playing and writing songs because that’s what I loved to do. That was the last thing I was thinking about was a career. It just hit me. I still don’t think of that. I would still be doing it even if I was working at a gas station.
How did you approach to writing songs? When I write songs, I try to get out and play as much as possible. I used to take photographs, and then I would stare at them for 15 minutes, and then just start writing lyrics.
One of the interesting tracks on the EP is the socially-conscientious “Proof of Destruction.” How did that song come about?
I was in my dorm room and it was one of the songs that just came out. I wrote that song in 20 minutes. A lot of people are like, ‘It’s an anti Bush song.’ That was the last thing I was thinking about. I was thinking in a much larger scheme of things. It just happened it came out when the war was going on.
How did you get signed to a major record label? I was playing around town and I guess some people heard of me. The record companies started coming out, and I was like, ‘Man I’m going to go with my gut.’ I just really like the guys over at Geffen, and I was like, ‘Let’s go do this.’ It wasn’t an easy process. You might as well just try it. If it doesn’t work out, you just stop.
Trevor, how do you explain your distinct vocals. It does not sound like it was coming from a 19-year old. Did you have voice lessons? I hate voice lessons. I just sing, man, and from the heart. If you sing from the heart, than anything goes good—the spirit of the show, song, and voice.
What has been the biggest highlight of your career so far? This tour right now. It’s the biggest highlight. To be on tour with another spiritual giant is really amazing to me. The tour has been selling out every place we play. We’re getting a lot of fans. The whole feeling of the tour has been really good. This is probably the best time I’ve had so far.
So what’s next? In a lot of ways I want to give back. If any good can come through, it will be that I have enough cash flow to give back some how. My family has been supportive. If I wanted to stop right now, they would take me back. Because of that, I kind of used that in a way that ‘you don’t have to worry about yourself, you should worry about other people and start giving back.
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# posted by NewBeats @ 6:52 AM
Sunday, March 05, 2006
CD Review: They Shoot Horses Don't They
They Shoot Horses Don’t They
Boo Hoo Hoo Boo
Kill Rock Stars
By David Chiu
Taking their name from an old film, The Shoot Horses Don’t They sounds like a cross between Talking Heads and the Specials—art rock with a bit ska and NYC-styled punk. From the album Boo Hoo Hoo Boo, it doesn’t sound like the 8-piece Canadian collective has any aspirations for mainstream acceptance because the music is very avant garde, albeit whimsical and quirky. Nut Brown recalls Joe Strummer with his desperate vocals that befits the They Shoot’s loose rock and roll and manic, cryptic lyrics. Its iconoclastic approach is what makes it interesting too.
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# posted by NewBeats @ 3:51 PM
CD Review: Roberta Flack
Roberta Flack
The Very Best of Roberta Flack
Atlantic/Rhino
By David Chiu
Not a day went by on ‘70s pop radio without hearing “Killing Me Softly With His Song” sung by the formidable Roberta Flack.The track, written about “American Pie” singer Don McLean,” has become Flack’s signature song and a classic, covered 20 years later by the Fugees. Naturally it is on this latest compilation but it’s just one of Flack’s gems, the others being the up tempo Feel Like Makin’ Love and the lovely “The First Time Ever I Saw Your Face.” Flack is also best known with her romantic duets with the late and great Donny Hathaway, evident on “Where Is the Love” and the majestic “The Closer I Get to You.” Had material like “Set the Night to Music” or “Tonight I Celebrate My Love With You (duets with Maxi Priest and Peabo Bryson, respectively), were rendered by any other singer, it would sound schmaltzy, but Flack’s performances gives them a sensual and earthy cool. Flack’s name doesn’t get mentioned often in the realm of great pop singers; Very Best makes a strong case.
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# posted by NewBeats @ 3:49 PM
Upcoming: Greta Gertler and the Extroverts
No, this picture is not the second coming of the Village People. Greta Gertler (center) is an amazing singer/songwriter originally from Australia who is now living in New York. Her sound can be best described as sophisticated chamber-styled pop music accompanied by her fine band the Extroverts. Gertler released a terffic album from 2003, The Baby That Brought Bad Weather, and is currently mixing her new record with the Extroverts. Check out her show on April 1 at Pete's Candy Store, 709 lorimer street, Williamsburg, Brooklyn,(718) 302-3770 (www.petescandystore.com). Not only are her shows great fun but they are sprinkled with a sense of humor. Why this artist is not signed by a major label is beyond comprehension. For more information, visit gretagertler.net or www.myspace.com/gretagertlermusic
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# posted by NewBeats @ 7:54 AM
Thursday, March 02, 2006
CD Review: Mellowdrone
Mellowdrone
Box
3 Records/Red Ink
By David Chiu
This L.A.-based collective is the brainchild of singer/guitarist/songwriter Jonathan Bates. One can tell from this major label debut that Mellowdrone does not conform to current trends but rather sculpts sounds according to its own vision. Box is a very moody and somber record with shades of Depeche Mode, Bowie, a little NIN, and Angelo Badalamenti. There are definitely moments when the music intensifies (“Oh My” with its ‘80s metal guitar solo, “Beautiful Day”) and the subdued tracks resonate (“Limb to Limb”). The melodies, arresting rhythms and beats, and Bates’ sedated vocals are the ingredients to the record’s appeal—no surprise that the upbeat and accessible “Fashionably Uninvited” is the record’s single. .Those who missed the dark electronic-based sounds of the ‘90s can take comfort in Mellowdrone's unsettling and somewhat poetic sounds.
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# posted by NewBeats @ 6:05 PM
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