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April music reviews

Various: Back Against The Wall

Cleopatra Records

Why would you remake a classic rock masterpiece from the late seventies? The Wall has been made in to film by Alan Parker and performed live during the celebrations of the fall of the Berlin wall. Pink Floyd has performed it live and Roger Waters performed selections during his live concerts. Surely, enough already. The Wall touched and inspired a generation of pre-punk teenagers. It was the last gasp of the seventies progressive rock movement that was swept away by New Wave.

What is remarkable about this tribute album is the list of contributors. Producer Billy Sherwood, who is best known for his work with Yes has dragged in Steve Howe, Chris Squire, Alan White and Rick Wakeman. Other progressive rockers from the seventies (and sixties) include Ian Anderson from Jethro Tull, Keith Emerson from ELP, Robby Krieger from The Doors, Glen Hughes and Steve Morse from Deep Purple, Fee Waybill from The Tubes and Adrian Belew and John Wetton from King Crimson. Other contributors include Geoff Downs from the Buggles, Elliot Easton from The Cars, Mike and Steve Porcaro from Toto and Tommy Shaw from Styx. There are more but you get the idea. Such is the pulling power of The Wall.

For me the really interesting pieces are where some artistic licence has been taken, such as Rick Wakeman’s piano in Nobody Home which creates a lighter, less menacing atmosphere. During In The Flesh? Keith Emerson’s organ gymnastics provide added edge. Steve Morse’s blues guitar in Another Brick in the Wall Part 1 provides a relief before the storm of Part 2. Glen Hughes provides a gutsy performance for Young Lust but the standout track is Comfortably Numb with a raspy Chris Squire singing, Alan White on drums and a nifty oriental guitar motif, but then it always was a great track.

Many will prefer the original, and that is not surprising but Billy Sherwood has done a fantastic job stitching together so many different artists. This is a tribute of the highest level, but does this work stand on its own? Sadly there can be only one masterpiece, but this is a great reproduction. I’ve heard it and I like it but still don’t get it. Why would you? Richard Nelson

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Frode Berg: Dig It!

Nagel Heyer

From the first notes of this excellent album you’re in no doubt what instrument Frode Berg is the master of – the bass. Those of you who are paying attention (sit up straight at the back!) will already know Frode’s name as I last mentioned it in a review of The Helge Lien Trio. Without looking back I seem to remember referring to Berg as a monster and indeed he can be but there are levels of subtlety and beauty in his playing as well.

41b starts the album with huge bass notes before the well drilled quartet (bass, sax, piano, drums) really push things along. Still there’s time for a very tasty bass solo before the end along with some great blowing by Petter Wettre on alto. Upright is switched for a very nimble 6 string electric on Frode’s Sir Nuke where bass and drums drive the piece along. Then the gentle bossa nova groves of Another Song show a gentle touch by all the band members with great solos on bass and piano and some lovely lead lines from the sax. Crank up the pace as here comes the bop train on the title piece where Roy Powell really shows his metal with some great and fairly free work. And on it goes, including a cover of ’Trane’s Giant Steps.

This is a quartet that really seems to know where each other is going at any given time, and each is given time to shine. However the name on the cover is Frode Berg and he’s the undoubted star. No matter if he’s on the upright bass or the electric, if he’s caressing the strings, drawing amazing depth out with the bow, or muscling out another huge solo, his skills are sublime. (As is the recording, which adds to the fun.) He’s not flashy for the sake of it, rather he’s a master technician totally at peace with his instrument.

To finish the album we’re treated to beauty in the form of a meditative piece written for Frode’s son Victor. It’s full of the love and passion of a dad playing for his son bringing the album to a wonderful conclusion. One more, highly recommended. Craig Fenemor

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Mary Coughlan: The Best

Elite

Mary Coughlan is Irish, but not to be confused with the Irish senior politician of the same name. The album is a little bit blues, a lot of jazz and some pop. Blues is something that comes naturally to Mary. She has struggled with alcohol and depression most of her fifty years, so she can certainly sing from the heart. I had not heard of her before; but then I am told that she has a small but loyal following at home and abroad. The smallness of her following is no reflection of her talent, which is considerable. Her personal problems have just limited her output.

This choice of The Best was made by herself and her children and is pretty mixed. As I have indicated she really comes alive with blues standards such as Meet me where they play the blues or Don’t smoke in bed. For those of us who are bored with the languid perfection of Patricia Barber this is the proverbial breath of fresh air. Unlike Barber she can effectively shift the mood, and her live version of the old standard You go to my head is delightfully light and uplifting. Another live track that is beautifully poignant is Not up to scratch which she describes as being appreciated by the ‘hot lesbian contingent’ in the audience. Coughlan however, has no bitterness in her delivery. She has a clear, natural rendition of material that communicates heart to heart. It is more like listening in on a monologue than a performance. When she tells the story of John fell off the work-around it is hard to stop yourself saying out loud: “What a pity dear”.

For those of us who are new to Mary Coughlan this is a good introductory sampler that will leave me for one, seeking some of her earlier material. I might also get to one of her concerts as I notice in the CD notes that she has quite a following in Christchurch. Anyone out there know when she is coming back to NZ? A real gem. John Groom

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Jack Johnson: A Weekend at the Greek/Live in Japan

Brushfire Films

This two disk set combines two separate films - footage from a 2005 concert at the Hearst Greek Theatre in California featuring material from Jack Johnson’s latest album (In Between Dreams) and material from a tour of Japan in 2004 (promoting the On and On album).

The Live at the Greek disk is a combination of band interviews and concert footage. The Live in Japan tends to mix the sights and sounds of Japan with concert footage and behind the scenes material.

The band expanded from the original three piece in Japan to a four piece in California by adding a full time keyboard player – Zach Gill from the Animal Liberation Orchestra (ALO). It is interesting to note the difference this has made in filling out the band’s sound.

For Jack Johnson fans, the DVDs will offer you some interesting insights into the man at work, if no real surprises in respect of the material or delivery. With a Jack Johnson CD or DVD you tend to get the man, his distinctive voice and guitar playing style. His band plays a solid supporting role, leaving the spotlight on Jack, rather than trying to steal the limelight through flashy musicianship.

As a record of the material Johnson was playing in 2004 and 2005, this set is a good compilation.

Not a lot ‘happens’ at a Jack Johnson gig. There is an intimacy and warmth apparent on both disks. This is a man who feels his music; keeps it simple; and delivers what works for him. Don’t come to this set looking for pyrotechnics and bombast. Do come to this set if you are either a fan who wants to relive memories of gigs you’ve attended; or you are looking to find a single source of Johnson’s best material from the last few years, together with some interview material to help you understand the man better.

In addition to the concert material, both disks feature some good bonus material, and represent good value. Douglas Lang

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Pink Martini: Hang On Little Tomato

Inertia/Heinz

Let me get this right. What we have here is a 14 piece American band (plus guests) with lyrics in English, French, Italian, Spanish, Croatian and Japanese and the lead singer (who is of Cuban heritage) is called China. Talk about packing the world onto a CD. Formed in 1994 with the driving force being classically trained pianist Thomas Lauderdale, this is only their 2nd album. The first album, Sympathique, has gone on to sell 750,000 copies world wide over the last eight years, which is pretty staggering for an independent release. I think the new one deserves to sell plenty too.

Hang On Little Tomato has a wonderful air of romantic fun to it. Ranging from an instrumental duet to a full on 14 piece plus orchestra setting, there’s plenty here for all to enjoy. Stylistically this is over the place, seamlessly going from French café to Latin exuberance to Caribbean swing to classic 30’s refinement and even fitting in a re-working of a 40 year old Japanese tune. I defy you to find a pigeonhole anywhere for this album.

It’s very hard to describe an album that is so diverse but all I can say is I keep playing it again and again and that I find myself humming the melodies as I’m walking the dog or working around the house. There is just so much to savour on these 14 tracks. The simply gorgeous clarinet opening to the title song, the playfulness of Lilly, the smouldering love and loss of Veronique – it’s all good.

If you can’t tell I simply love Hang On Little Tomato. It’s romantic, fun, joyous, inviting, varied, and simply gives great enjoyment. Part of the appeal is that it’s all that I’ve mentioned without being either overly challenging or bland. If you want to smile, tap your feet, sing along and have fun with some new music do give Pink Martini a spin. (If you go to their website they’ll let you spin it for free). Highly recommended. Craig Fenemor

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No.2 - Original Motion Picture Soundtrack

EMI Music

The soundtrack to New Zealand film No.2 (a recent winner at the Sundance Film Festival) is an eclectic mix of pieces from Fiji and Tahiti, sweeping strings and contemplative guitar pieces courtesy of ex-Mutton Bird Don McGlashan, and local material from the likes of Tha Feelstyle, Che Fu and Trinity Roots. Up and coming soul/gospel/roots sensation Hollie Smith also gets a look in on the beautiful track Bathe in the River with the Mt Roskill Preservation Society.

I’m never too sure with soundtrack albums. Unless you’ve seen the film and want to have the CD as a memento, why would you spend your hard-earned cash on what can often appear to be a hastily thrown together mix of styles and artists?

In the case of No.2, I haven’t yet seen the film, but hearing the soundtrack has probably made me more inclined to do so than I might have been before – just to see how the feel good sense of the soundtrack reflects what happens on the screen.

I’ve also found myself playing the soundtrack right through in the car – so I guess it works for me as a compilation of different musical styles that sit comfortably together in their own right, divorced from the film.

The soundtrack has also got me looking for other material from Hollie Smith, and interested in exploring the work of Trinity Roots in more depth. So, if part of the intention of releasing the soundtrack CD was to open these artists up to a wider audience, then you’d have to say it’s a success. Douglas Lang

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Darren Watson: South Pacific Soul

Red Rocks Records

The title of this album gives you the clue as to where we’re heading. Through ten self penned songs Darren Watson has managed to weave a feel of home through South Pacific Soul. Let’s get the summary first – this is great. Now that’s out of the way let’s fill in some details.

If you’ve ever wanted to have a look through Darren’s diary then this is your chance. When I spoke to Darren about the personal nature of the writing he said that for him, once it was on paper he just let go of the emotions involved and they became songs. Cathartic experiences are often painful for all those involved but this turns out to be fun. (Sorry mate, we’re laughing with you, not at you!) There’s some great grooves, excellent singing and playing, and the overall effect is far from heavy.

Speaking of the grooves, you’ve just got to hear the bass lines that Elliotte Fuimaono puts down. This guy rocks. A lot of the relaxed, soul and blues filled, South Pacific feel of South Pacific Soul can be traced directly to this man. Excellent stuff. Darren also has plenty of chances to show off his chops on various guitars, although this isn’t the more guitar-orientated blues of King Size, Darren previous release. The feel is a bit more laid back and perhaps more diverse. Oh, don’t worry, there’s still blues, but there’s also touches of country, pop and certainly plenty of cruising soul.

So there you have it. About the only complaint is the same as last time (you didn’t listen, Mr Watson) in that I wouldn’t have minded a couple of more songs. That said, there’s plenty to enjoy: the heartfelt ballads, the country tinged Nothing About Her, of the let it rip vocal on Everybody’s Friend. For AudioEnz forum readers music doesn’t get much more local than this. Darren is a regular contributor to discussions and from that we’ve got to know his passion for music and the diversity of his influences. I don’t believe you should buy local just because something is local however when it’s as good as this you’d be a fool to pass it up. Craig Fenemor

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