Saturday, August 23, 2008
Feature: Nick Zinner of Yeah Yeah Yeahs
Nick Zinner, the guitarist of Yeah Yeah Yeahs, just opened his latest photo show at Fuse Gallery in New York City. Read the feature that was originally published in Spinner. Photo by Nick Zinner.
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# posted by NewBeats @ 12:54 PM
Profile: Darren Jessee of Hotel Lights
Ready my Spinner profile of Darren Jessee, the ex-Ben Folds Five drummer, who just released a new album as the leader of Hotel Lights. Photo by Debora Francis.
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# posted by NewBeats @ 12:51 PM
CD Review: The Hold Steady
The Hold Steady
Stay Positive
Vagrant
By David Chiu
The punkish opener “Constructive Summer” gets the Brooklyn’s band’s latest Stay Positive off to a rollicking start. With its piano, slashing guitar and Craig Finn’s husky voice, this anthemic number definitely feels like hearing a tune from certain famous New Jersey rocker…and I’m not talking about Bon Jovi. Anyone new to the Hold Steady like I am can pick up elements of soul and classic rock from this band, and yet still recognize some alternative/modern rock qualities that hipsters and punkers can relate to. While grounded in heavy guitar rock, Stay Positive offers some stylistic divergences: “Sequestered in Memphis” recalls a bit of Stax through its organ playing and horns; the New Wave-ish “Navy Sheets” recalls vintage Cars, and “One for the Cutters”… well, perhaps a rockin’ version of Bach thanks to the use harpsichord, or the clavinet? The impressionist, storytelling lyrics appear cryptic and yet a mellow folkish ballad song called “Lord I’m Discouraged” sounds as poignant as it is resonant (the spiraling guitar solo is amazing).
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# posted by NewBeats @ 12:49 PM
CD Review: Rick Springfield
Rick Springfield
Venus in Overdrive
New Door/UME
By David Chiu
Venus in Overdrive is the latest album from the veteran rocker/actor and it is arguably his best new work in a quite, perhaps since 1981’s Working Class Dog. Not sounding tired or complacent at this stage of his career, Springfield sounds revitalized and energetic thanks to some driving, heartfelt songs. He again draws on the themes of romantic angst that was the hallmark of past hits like “Jesse’s Girl” and “Don’t Talk to Strangers” with the title song (great line: “Sex got me buried alive”) and “What’s Victoria’s Secret?” The intense melodic rock never lets up throughout the record such as the artsy, Beatlesque “She” and “Saint Sahara.” It’s a bold and fresh entry into Springfield’s catalog proving that at 58 that he’s still has it.
See Rick Springfield perform "What's Victoria's Secret?":
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# posted by NewBeats @ 12:48 PM
CD Review: Sarah McLachlan
Sarah McLachlan
Fumbling Towards Ecstasy—Legacy Edition
Arista/Legacy
By David Chiu
Released in 1993, Fumbling Towards Ecstasy, Sarah McLachlan’s third studio album, definitely ranks as one of the ‘90s musical high points. It was the record that would bring the Canadian songstress to wider recognition in the States. From top to bottom Fumbling is a great record that encapsulates what McLachlan’s music is all about: introspective. moody lyrics; exquisite production and her amazing gentle voice. There’s an underlying tension and melancholy in the songs given the subject matter such as obsessive love on “Possession” and isolation on “Elsewhere.” Yet tracks like Hold On and the titles song contain uplifting moments, and even “Ice Cream” and “Circle” also offer some cheerful moments. Of all of her provide studio albums, Fumbling is certainly her absolute best. This 15th anniversary package also contains The Freedom Sessions, reworked versions of Fumbling’ songs as well as a cover of Tom Waits’ Ol’ 55. This edition also has the Fumbling Towards Ecstasy Live DVD featuring concert highlights, interviews, and in studio performances.
Watch the video for "Posssession":
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# posted by NewBeats @ 12:46 PM
CD Review: U2
U2
Boy
October
War
Island/Interscope/UME
By David Chiu
U2 has taken interesting unique and sometimes stylistic turns way later in their 30 year career. But the band’s passionate, urgent and anthem-inspired rock can be traced to its first three albums, all produced by Steve Lilywhite, and now gloriously repackaged each with a bonus disc of rarities and unreleased tracks. More than The Joshua Tree or Achtung Baby, the real essence of the band is found on these three important albums.
Tackling the themes of adolescence and growing up, Boy definitely draws on the post-punk sound of the time. “I Will Follow,” which kicks off the album, contains the template of the U2 sound: Bono’s soulful lyrics, the Edge’s ringing guitar, Larry Mullen’s thunderous drumming, and Adam Clayton’s steady, deep bass lines. The influence of the previous punk era really permeates on Boy such as on “Out of Control,” “The Electric Co.,” and “A Day Without Me.” It’s a high-spirited debut that was offered a taste of what’s to come.
Unfortunately October had to be the difficult second album—by the Edge’s own admission in the liner notes, it was an album that marked the band’s “confused and desperate inner dialogue.” I certainly would rank this album better than Pop but in comparison to Boy, it doesn’t have that ‘spark.’ But the album does have its highlights: the urgent “With a Shout, ““I Threw a Brick Through A Window” (featuring some amazing drumming by Mullen towards the end of that song) and “Gloria” (which I personally think should have been on The Best 1980-1990 compilation); “Tomorrow” and the title track provide some sobering moments.
On the other hand War is a brilliant record of such depth and passion—it’s both hard-hitting and poignant at the same time. U2’s sense of militancy and politics seems more pronounced here compared to the previous albums, especially with the classic Sunday Bloody Sunday and “New Year’s Day” (The lines: So they say, this is the golden age/And gold is the reason for the war we wage, still pierces the heart and mind). There’s a sense of fire on rockers like “Two Hearts Beat As One “and “Seconds,” and a little bit of funk on “Surrender.” The final track “‘40’” based on the 40th Psalm, kind of ends the album with a sense of hope, albeit an ambiguous sense, (with the line, “How long to sing this song”?).
See the video for "New Year's Day":
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# posted by NewBeats @ 12:44 PM
Monday, August 04, 2008
CD Review: David Bowie
David Bowie
Live Santa Monica ‘72
Virgin
By David Chiu
The music from this 1972 show at the Santa Monica Civic Auditorium, which was broadcasted on KMET, has existed before but this ‘limited edition’ version marks its ‘official’ release. It captures Bowie at the height of Ziggy-mania, drawing tracks from the first several albums including Hunky Dory and of course The Rise and Fall of Ziggy Stardust and the Spiders from Mars. For the die-hard fans of Bowie’s early phase Santa Monica ’72 is glam rock ecstasy that’s heavy on Bowie’s charisma and Mick Ronson’s crunchy guitar—the setlist draws on the familiar staples ('Space Oddity," "Changes," "Suffragette City," "The Jean Genie") and key tracks from the studio albums ("Moonage Daydream," "Queen Bitch," "Five Years," etc.). Bowie and his band sound in top form here, and this recording definitely belongs with the previous live albums David Live and Stages.
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# posted by NewBeats @ 10:32 AM
Features: Patti Smith, Alejandro Escovedo, The Alarm, Yaz
Here are some recent pieces I’ve done for Spinner.com and New York Press:
A new film documentary on the life and career of Patti Smith is scheduled to play at New York’s Film Forum on Aug. 6.
Roots rocker Alejandro Escovedo and his fine new album produced by Tony Visconti.
Mike Peters of the ‘80s alternative band The Alarm who is surviving cancer and out with another record.
The reunion of Vince Clarke and Allison Moyet as Yaz.
Photo courtesy of Big Hassle.
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# posted by NewBeats @ 8:47 AM
CD: Liz Phair
Liz Phair
Exile in Guyville
ATO
By David Chiu
The best Liz Phair album in recent memory is the recent reissue of her masterpiece Exile in Guyville, now celebrating 15 years in this special expanded edition. It is a reminder of how great she was and still is despite her attempts to become more pop friendly that was evident on her last two albums Liz Phair and Somebody’s Miracle. With its blunt attitude and Rolling Stones-inspired guitar rock sound, Guyville put Phair on the national map as a true female alt-rock star, paving the way for the likes of Alanis Morrisette and Garbage's Shirley Manson who also evoke depth and boldness. In hindsight, the frank audacity exuded is quite provocative in tracks like “6’ 1”,” “Dance of the Seven Veils,” and “Fuck and Run.” Let’s hope that her new album, scheduled to be out later this year, will be inspired by Guyville for a return to form. (This anniversary edition also contains three bonus tracks and a DVD documentary that tells the story behind the album).
Watch a preview of the DVD documentary of Exile in Guyville:
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# posted by NewBeats @ 8:39 AM
CD: Billy Joel
Billy Joel
The Stranger—Legacy Edition
Columbia/Legacy
By David Chiu
Early on his career Billy Joel recorded some good albums (the vastly underrated Cold Spring Harbor, Piano Man, Streetlife Serenade and Turnstiles) that unfortunately didn’t set the charts on fire. That changed in 1977 with the release of The Stranger, which elevated Joel’s popularity to superstardom, a level that has not diminished since. In comparison to his first albums, The Stranger contains as an air of confidence both in Joel’s songwriting and delivery. Certainly having producer Phil Ramone on board doesn’t hurt the album’s chances either. Nearly all of the songs on the album has been a regular radio or concert staple: "Movin’ Out," the title song, "Just the Way You Are," "Scenes of an Italian Restaurant" (Joel’s own “Bohemian Rhapsody” in terms of the musical arrangement and story), "Only the Good Die Young," and "She’s Always a Woman." The other non singles rank along with the hits: Vienna is sentimental pop with a European sensibility; "Get It Right the First Time" is a joyous salsa-fied ditty; and the gospel-ish "Everybody Has a Dream" is Joel channeling his inner Ray Charles. This special 30th anniversary version also has a previously unreleased show from Carnegie Hall prior to The Stranger’s release that contains familiar Joel songs like "Captain Jack," "Miami 2017," and the lovely "Souvenir." Though he’s always made consistently good records (Glass Houses, The Nylon Curtain) The Stranger is THE essential Billy Joel studio album.
Watch a trailer for the release of The Stranger-Legacy Edition.
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# posted by NewBeats @ 8:30 AM
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