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June music reviews

Aaradhna: Sweet Soul Music

Dawn Raid Entertainment

We are taken on a trip down the streets of soul music courtesy of the beautifully stunning Aaradhna. One of Dawn Raid’s shining stars over the last few years, her strong and silky voice blends in wonderfully with some soul classics over the last three decades.

From the Indian influenced Didn’t I blow your mind to the Jackson’s I want you back, a distinct New Zealand/Pacific Island soulful sound comes through as smooth as silk. Favourite track for the iPod is an upbeat version of Al Green’s 1971 gem Let’s stay together followed closely by Stevie Wonder’s Sunshine of my life.

If Aaradhna can follow up with an album of originals of similar quality, we’re in for a real sexy and soulful experience! Ants Fong

Billy Bragg: Mr Love & Justice

The album cover presents this statesman of baby boomer socialism in pensive profile against a skyline of looming heritage urban facades, but it sounds more like Billy’s bailed out of the hurly-burly and retired to the coast to ruminate, or mark time. What else do we expect? Sustaining poetic and public political indignation through the softening belly of middle age is never going to be easy.

The predictable themes are here – commercialism, terrorism, war, homelessness – but without much sting in the tale. In The Johnny Carcinogenic Show Bragg strikes out at the “contaminating” media, though the targets (products that “take your money and your soul”, or the fat controller’s hook-line of “I’m not responsible for the lessons children learn… just for giving my investors some return”) are obvious and trite. He does hit characteristic narrative stride in O Freedom, which applies the baleful appeal of “…what liberties are taken in thy name?” to the issue of extraordinary rendition, yet the song is weakly wound down and the brimming impact falls away, as though he’s lost confidence in his purpose. In this piece, at least, the band seems tonally integrated with the voice and lyrics; elsewhere, for instance in Something Happened which is ambushed by overkill grunge guitar and wailing harmonica, the backing arrangements are often overstated or unconnected.

With most of the songs dogged by plodding progressions, repeatedly reprised choruses and meandering conclusions, there’s a prevailing sense of lack of conviction. Paul Green

Jackson Browne: Solo Acoustic vol. 2

Inside Recordings

One song. That’s all I recognized when I looked at the track-list on this solo live album from the Southern Californian singer songwriter. Like many, I admit to not being familiar with much of Jackson Browne’s music. But, deter me it did not. In fact, the curiosity of getting to know 12 Browne originals – selected from his vast catalogue spanning a 36 year recording career – was both enlightening and most rewarding.

Solo Acoustics Vol.2 was recorded live in the US, UK and Australia and is released on the artist’s own label Inside Recordings. Tracks which appeal most to this listener include Something Fine (1972), the opening tune Never Stop (2002), Sky Black and Blue (1993) and the familiar Somebody’s Baby (1982). The entire album is well recorded and includes a balanced level of crowd interaction and story-telling to place the listener in the crowd. The quality of the songs is evident, and I am taken by Browne’s ability to portray his music through such fine guitar playing and expressive singing.

For some readers, Jackson Browne may only be known as co-writer of the Eagles anthem Take It Easy. Or, for the title track and hit tune Stay featured on the 7x platinum selling Running On Empty album (1977). It didn’t bother me (and it shouldn’t trouble you) that the better known Browne tunes aren’t on this album. Buy Solo Acoustic Vol. 2 because it’s the album you choose to “take a risk on” this time ‘round. Buy it, for your love of acoustic guitars (JB certainly has plenty of them!). Buy it, because you owe this musician the courtesy of sampling his craft after being in the shadows for so, so long.

To paraphrase other music lovers from the 1970s, Rolling Stone magazine wrote in its original review of the artist’s debut album, "Jackson Browne's sensibility is romantic in the best sense of the term: his songs are capable of generating a highly charged, compelling atmosphere throughout, and - just as important - of sustaining that pitch in the listener's mind long after they've ended." I couldn’t have said it better and, by hokey Selwyn, I tried! Lloyd Macomber

Eric Clapton: Complete Clapton

Polydor

This is a two disk set that covers Eric Clapton’s career from 1966 to 2000. There are 36 tracks with a helpful booklet that explained which band Eric was in when each song was performed and there were quite a few bands! Of course the big hits such as Layla, Wonderful Tonight and Tears in Heaven are all there. But it was some of the late 60’s and early 70’s rock such as I Feel Free and White Room, which I particularly enjoyed. Many Clapton’s cover versions of songs such as Cocaine (by JJ Cale) are also included on the collection.

Most people who have followed Eric Clapton realise that he started his career as a member of several different bands and continued working by moving to a solo career. What becomes more obvious when listening to a career retrospective like this the progression that Clapton has made from being a guitarist to a songwriter. Many of the later songs have great guitar pieces but the guitar parts are simpler and there is more emphasis on vocals or the overall melody of a piece. This is comes through in many of the tracks from the hugely popular Unplugged album.

In summary, this is a great collection from one of the masters of rock. Essential listening. Matthew Strack

Elbow: The Seldom Seen Kid

Polydor

This is the fourth album by Manchester band Elbow. I own their first album but haven’t kept in touch with their work in the intervening period. However this is a definite progression from the debut and displays increased confidence and maturity. It’s like they’ve grown into their skin and feel more comfortable doing what they do.

One of the very distinctive elements of the band’s work has always been the vocal styling of lead singer Guy Garvey who at times has a bit of Peter Gabriel about him. Garvey is backed by a traditional set up of guitar, bass, drums and keyboards supplemented now and again with brass and strings to add a bit of colour.

The material is generally slow to mid paced and the opens up with repeat listenings. It’s one of those albums that you notice new things on as you get more familiar with it – for me a sign of an album that has some staying power and you’ll want to come back to.

Words like atmospheric; moody; heartfelt; passionate; dark; uplifting; orchestral; complex and yet not overblown come to mind at different times to describe the album.

Elbow are a bit like what I’d call a grown up Coldplay – lyrics that are sufficiently obscure to allow for a variety of interpretations, and songs that are varied enough to keep you interested for the duration of the whole album. This is a disc that you can happily put on from the start and just let it run. There is no bad material on here – it’s strong throughout.

Some of the track titles may give you a sense of the material – The Loneliness of a Tower Crane Driver; An Audience with the Pope; Grounds for Divorce.

Personal favourites include opener Starlings which starts quietly and then gets your attention with blasts of brass before segueing into a perfect platform for Garvey’s expressive vocals. One Day Like This is the closest Elbow get to a big stadium anthem – uplifting strings; big chorus; emotion-drenched vocals – one of those tracks that sends shivers down your spine (at least mine anyway). The album closer Friend of Ours is a memorial to a fellow Manchester musician (Bryan Glancy) – solo guitar, strings and a haunting vocal – a perfect end to a pretty well perfect album.

This is highly recommended to those who like their rock a little understated; reflective and well played. Fans of The Blue Nile; Radiohead and Coldplay should check it out. Douglas Lang

Ella Fitzgerald: Forever Ella

Verve

Forever Ella is an 18-track reissue of some ultra-classic Ella material from the Universal vaults. Any excuse to re-listen to these glorious settings of mainly now legendary settings of various American songbook composers is a bonus. A few surprises turn up such as the “Brand New Version recorded with the London Symphony Orchestra’ of Cry Me A River, and a couple of remix tracks popped on the end as a bonus tracks. They are no bonus for me but thankfully are placed at the end.

Designed for the Mother’s Day market this release assumes Mothers have no need of comprehensive liner notes or any kind of introduction to the grand lady herself. Mothers will have gained some of the finest ever performances of such gems as Don’t Fence me In, I Get A Kick Out Of You, Summertime, Night and Day, A Fine Romance – you get he idea of what to expect. A welcome compilation for those of us with extensive Ella collections wanting to play through a well thought out compilation into a spinner, have a ready made list of gems to drop on the iPod or accompany that well earned gin. Bliss. Allan McFarlane

Jack Johnson: Sleep Through The Static

Brushfire Records

For those that have somehow missed the phenomenon that is Jack Johnson he is best described as guitarist who sings, writes about global and personal issues with equal ease and is at home as much in the corner bar as a stadium. He’s an artist that sees songs as a lyric/poem that happens to be sung. That is the delivery is second to the message. This is not to say that either approach is the correct one.

Personally I have always enjoyed a track from here and there without needing to collect every utterance. Sleep Through The Static does nothing to change my view. I can hear why others adore this artist, I would go to see him live in a flash, but for me this album remains a dipper, something I will continue to dip in to but find the whole event doesn’t captivate me as a must listen-through. Note that if you don’t you will miss the captivating last track Losing Keys, a little gem. And then there’s the equally beguiling bonus track - an acoustic version of Home Stay. I suspect I’ll keep on listening and suggest you do exactly that as well. Allan McFarlane

KD Lang: Watershed

Nonesuch

It’s actually taken me longer to get into the latest KD Lang offering than would normally be the case. Not because there is any radical departure in content but because there isn’t. Some eight years have passed since the last release of new KD material – not to disparage the quintessential covers album Hymns of the 49th Parallel – and perhaps I was expecting a new direction. Hey with a voice like hers why reinvent the wheel? Sultry songsmith she is. If you want bluegrass these days, you’ll need to shell out for a glimpse in her live set.

Watershed sees her taking the production credits herself for the first time, with near complete mastery. Delivering a wonderful set of songs that only disappoint in their 11-track brevity. (This is compensated a little by the additional five tracks on the limited release version of this CD).

The apparent sparseness of the arrangements is filled with some skilful string writing, occasionally too much so, this was not missed in her live set in Wellington recently, but will possibly add to the durability of each tack as they are revisited and revisited. I have to say my understanding and subsequent enjoyment of this album was helped in no small measure by the live experience. Upon reflection I remind myself that lyrics have never been the reason to treasure KD’s own material and nothing has changed that view here. I am left urging the release of a live set of this material featuring the recently toured band. Then we will get past the studio-ness of the tracks and inject that next level of spontaneity and musical interaction that is missing from this nearly magical release from an artist of true genius. Allan McFarlane

Matt Costa: Unfamiliar Faces

Brushfire Records

The fact that this is released on Jack Johnson’s Brushfire Records will give you an idea of the overall feel to the album – generally laid back; guitar based; three minute pop songs. Having said that there is a bit of an edge to some of the material that differentiates Costa from Johnson and some of his label mates.

Emergency Call moves along at a sprightly pace and has some added colour courtesy of some brass and shuffling drums. Vienna is reminiscent of Paul Weller in his Style Council days. Costa’s vocals remind me on occasions of Ben Watt of Everything but the Girl (EBTG) fame and the pace of the album is not too different from EBTG’s earlier work – before they got a bit more ‘funky’.

The album is an interesting blend of pop styles including some 60s type stylings on the title track and the likes of Miss Magnolia which sounds very like Mungo Jerry’s In the Summertime.

Cigarette Eyes shows a bit of a darker side and is a bit more indie than some of the other tracks - but never too difficult.

I don’t think he’ll ever set the world on fire but Costa comes across as an honest musician making genuine music. My advice - Try before you buy! Douglas Lang

Willie Nelson: Moment of Forever

Lost Highway

Prolific is the understated summary of this true legend who keeps ‘em coming some 50 years after his debut release. Motivation? I guess Willie just enjoys what he does and what he does he does so well. I have often argued that a student of singing can do no better than to listen to Ella Fitzgerald or Willie Nelson to learn about the subtleties of how to interpret, things like just hold the phrase back a little, or don’t be afraid to bend the pitch or the rhythm. Little things that come naturally to so few that separates them from the robots of the studio and the concert hall.

Moment of Forever is simply a new album of his latest material, superbly recorded with some excellent collaborators. Reflection, romance, relationships and humour are all covered. This man has no right to be doing this at his age. Zimmer frame maybe. Not a Guest appearance on Ellen with his latest single. Awesome. The man’s a true legend.

PS It’s well worthwhile “YouTube”-ing the videos Gravedigger and the oh so odd You Don’t Think I’m Funny Anymore. Allan McFarlane

U2: The Joshua Tree Deluxe Edition

Island Records/Universal Music

This is a reissue of the famous 1987 U2 album. Over 20 years, the USA sales alone are said to be more than 10 million. It is such a well known album that it can be hard to make a sensible review comment. Simply saying that you like it is like saying many women like chocolate (no – they love it!). My dilemma was solved for two months when one of my children (yes, you know who you are) made off with the CD. I did not want to search their bedroom; there are many things that a parent does not want to know.

This gave me some time to think about this album and why I like it. Officially, the album is meant to be a tribute to America and the Joshua tree meant an actual tree – which was covered on one of the early album issues. Evidently these trees are very slow growing and can live for hundreds or even possibly a thousand years. The original Joshua tree from the album cover died in 2000. There is also a New Zealand connection, the track One Tree Hill refers to a New Zealander known to the band. My favourite tracks would be Where the Streets Have No Name and I Still Haven't Found What I'm Looking For. Musically, many of the songs have less complicated structures than U2’s earlier work and this is probably a reflection of U2’s growing confidence as a band. The “less is more” approach paid off and results in an album that is still enjoyable 20 years later. The guitar pieces are wonderful and just seem to keep on going.

While I like The Joshua Tree a lot, I probably would not put it on and listen to the whole thing from start to finish. However, it has tunes and melodies which stick in your mind and you find yourself listening to one or two songs “one more time”. Now if only I could find which bedroom my children have spirited the Joshua Tree off to this week, I might be able to listen to it again! Matthew Strack

Elgar: Cello Concerto

EMI Classics
Natelie Clein, Vernon Handley (Conductor), Royal Liverpool Philharmonic Orchestra

Elgar seems to be one of those composers you love or hate. In his lifetime the reaction was similar. Nowadays he would be regarded by many classical music lovers as one of the greatest British composers. In addition, his profile has been raised by Nigel Kennedy who did a lot in the 90’s to popularise Elgar’s violin concerto. I was lucky enough to hear Nigel Kennedy play the violin concerto and the experience changed my thoughts about Elgar.

This is a very good recording of Elgar’s cello concerto with some shorter pieces thrown in for extra measure. I enjoyed the recording because a strong sense of emotion comes through with the complex and sometimes sad feelings that characterise the early movements. There is also an uplifting sense of triumph in the last movement. Natelie Clein plays in a restrained yet sensitive way. It is quite different to that of the more flamboyant style of Jacjueline Du Pré, but none the worse for this and captures some of the early movements in a very effective way. The sound recording is pleasingly clear and there is good balance between the soloist and orchestra. The shorter works are pleasant cello pieces, nothing with quite the substance of the “main course” though. I was lucky enough to hear Natelie Clein during her New Zealand tour recently and her live performance was also excellent.

If some of the early classical composers such as Vivaldi and Mozart are beginning to tire, then a dose of Elgar might be in order. This is a first rate interpretation and performance of one of the “classic” cello concertos. Matthew Strack