June music reviews

Jessie Baylin: Firesight

Verve Forecast

Hailed as one who has something to add to the vast number of people aloud into a studio my ears fail to agree. One of those releases that looked great on paper but disappoints quickly, little more than pop tinged tunes without any enduring merit. Allan McFarlane

Bloc Party: Intimacy

Wichita

UK electro/punk/funk/rocksters Bloc Party mix it up again on their third album. This one took me some time to get into. It’s a mix of full-on sonic attack on tracks such as One Month Off and opener Ares and slower, more melodic numbers like Zephyrus featuring a choir (The Exmoor Singers of London) and Biko.

If you’re not familiar with Bloc Party then bands such as Radiohead, Public Image Limited (kind of) and Gang of Four may be useful reference points although they definitely have a sound that’s their own. This is partly a result of the vocal stylings of Kele Okareke – a little like Damon Albarn of Blur at times but also the ‘put it all in the melting pot’ production. It can be a bit OTT and challenging at times but they definitely can’t be accused of playing it safe.

Try before you buy. Douglas Lang

Cephas & Wiggins: Richmond Blues

Smithsonian Folkway Recordings

African-American harmonica-guitar duo Cephas and Wiggins have been declared by the blues community as the new champions of the East Coast Piedmont style of blues, and most blues aficionados and the next generation of blues fans will no doubt enjoy this offering.

The opening title track Richmond Blues, tells of the struggle of the African-American experience – its contemporary lyrics transform traditional rural blues to true-to-life modern urban experience; and the listener is drawn in by its smooth and rolling ragtime style. The pace is slowed for the soulful and moving second track Going to the River followed by an up-beat Keep Your Hands Off My Baby. The remainder of the album follows this pattern of raising the tempo then lowering it for the next.

If you only have a modest interest in the blues, you may find it an effort getting past the fourth track, which follows this undulating cycle and lacks in variation of approach, fading into an amorphous background blur. Overall, non-intrusive but inclined to be too monotonous. Patricia Evans

The Clash: Live at Shea Stadium

Sony BMG

Recorded in 1982 when The Clash were in the USA supporting The Who, this previously unreleased album has been restored and remastered recently. The CD gives you access to the complete show of October 13th 1982 and is therefore a good insight into the band at a comparatively late stage in their history. It’s fair to say that the band were almost at the point of break up, having already sacked ace drummer Topper Headon due to his out of control drug habit, and shortly after the Who tour, Mick Jones departed which effectively ended the original band as we know and love them.

The album is a bit of a greatest hits mix and includes early faves such as Career Opportunities from the first album, Tommy Gun and English Civil War from the follow up and then a couple from London Calling. The remainder of the show comprises a fair bit from Sandinista and what would probably have been their best known tracks (especially to a US audience) at that stage (Should I Stay or Should I Go and Rock the Casbah).

Most of the tracks are delivered pretty much as they were originally recorded although there is a nice segue of The Magnificent Seven and Armagideon Time which they blow out from their original versions in a 12 inch ‘reggae stylee’.

It’s interesting to note the use of Joe Strummer, Paul Simenon and Mick Jones on lead vocals at various stages. For some reason it’s more apparent than I recall from the original album versions.

All in all a perfectly enjoyable, and well reproduced, record of one of the great bands of the late 70s and early 80s. Douglas Lang

Enigma: Seven Lives Many Faces

EMI

Dark, sensual, seamless and stately, this album offers escape into a trance-like sequence of moods. Michael Cretu’s music is both trippy new age ambient (without the bland repetitive overkill of the chillout genre) and classically sombre, sometimes richly complex in multi-layers of tone and rhythm, sometimes shifting easily into eloquent simplicity.

The opener Encounter propels into Seven Lives conveying a sensation of urgent foreboding, of being “lost in the maze of time”, launched by digital cello and heavy beats. If you’re not won over by this tune then you won’t like the rest of the tracks which morph into one another developing into the characteristic earthy but shamanic style of Enigma. The album is filled with intermittent passages of orchestral chords, Gregorian lyrics and the Enigma trademark of breathless whisperings.

One of the stand-outs, Je t’aime till my dying day, moves from an air of pessimism and loss to optimism. The album flawlessly closes with the climax track The language of sound, releasing a sense of immense celebration. Seven Lives Many Faces is seventy minutes of pure mood-defining ambient music. Patricia Evans

Everything But the Girl: The 90s Collection

EMI

The dynamic duo of Tracy Thorn and Ben Watt have created an electronica monster with their distinct sounding funky beats and high pitched vocals. Being a collection of EBTG’s singles, the odd remix is bound to crop up. The Todd Terry Remix of Wrong brings an upbeat vibe to this classic tune.

Before Today shows us the wide spectrum of electronic music that is witnessed on this album as we are taken through a drum’n’bass influenced track with the break beats working a treat! Then we progress into the Five Fathoms house track with its soulful and smooth garage keyboard undertones. Such masterful sounds and vocals to match.

Some other gems for the iPod are the upbeat Temperamental, the downbeat Downhill Racer and the DJ Jazzy Jeff Sole Full Remix of the wonderful Mirrorball.

You can see why these two talented musicians were guest performing with the Style Council and Llyod Cole and the Commotions in the height if the 90’s music era in the UK. Pure Class Governor! A must for all fans of electronica music! Ants Fong

The Killers: Day & Age

Polygram

It’s easy to assume that, on the back of the landslide success of Hot Fuss and the waning praise for Sam’s Town, the pressure on Brandon Flowers to come up with a powerful ‘au courant’ album must have been intense. The hunt would have been on for the sound of evolution, resonating with the glitz and glam of a regenerated band focused this time on a newer younger audience.

Yet with the gravelly buzzing horns, operatic crescendos and twinkling symphonic flourishes, one has a strong sense of being lulled back into the early 1980s; indeed the image of black leather-clad groovers hip-thrusting round a smoke machine came viscerally to mind upon first encounter here. Tracks such as Human, with that familiar eerie keyboard inflection, and the racy upbeat Losing Touch, with its chorus of trumpets, synthesizers and clanging bells, recall The Killers from times past.

But the lasting impression inclines towards a phony disco theme: like their home town of Las Vegas, the allure of razzle-dazzle super-stardom, complete with fluffed shoulder pads under the glaring lights, seems to prevail. Will this one stand the test of time? There’s more than a lingering feeling that this time round The Killers may well be losing touch. Jessica Green

Joe Lovano: Symphonica

Blue Note Records

Respected jazz tenor saxophonist Lovano enjoys the privilege of performing seven of his own compositions with The WDR Big Band and the Rundfunk Orchestra. There are some very talented and skilled musicians working for this German Radio organization in Cologne where I recently noted they did a superb job with ex-Ray Charles tenor sax man Maceo Parker. On those dates they played excellent straight-ahead Ray tributes and later on full power funk-a-delicious grooves.

So Lovano also steps up as the very versatile and skilled player/composer into fronting the big band and the full orchestra in simply gorgeous and cool ways. His Emperor Jones opens in a smooth textured, rich Stan Getz like sound that floats atop lush yet unobtrusive strings. He follows with a modernistic be-bop Eternal Joy where the varied orchestral pallet compliments his searching and searing soprano sax excursions. A fine trumpet soloist (unlisted!) works beautifully with Lovano in the last sections.

With a Ben Webster like richness and smoothness again. Lovano provides a splendid version of Charles Mingus’ Duke Ellington’s Sound Of Love with the ensemble that in all ways the above named parties would dearly love it.

Through four more excellent tunes, there are consistently high quality arrangements and embellishments that make this album quite unique in that everything goes together so well. There are hard driving brass and rhythm sections, soaring strings, and hot solo parts which all fit, ever so sweetly and smoothly with each other. So overall, it just works a charm. Great recorded sound too. John Paul

Sarah McLachlan: Closer – The Best of Sarah McLachlan

Arista/Sony BMG

Many of you will be familiar with Sarah McLachlan’s work. Rightly or wrongly I tend to categorise her alongside the likes of Enya and Annie Lennox. She’s an able and very popular female singer-songwriter but for me there’s something a bit too sickly sweet and slightly lightweight about some of her work.

This 16 track Best Of is chronologically arranged and includes material from albums Touch through to Afterglow plus a couple of new tracks.

The first three early tracks are good examples of what I’d term ‘nothing’ tracks – all pleasant enough (apart from some annoying vocal warblings) but ultimately pretty forgettable.

Things pick up with material from Fumbling Towards Ecstacy including Hold On where a more sensual and breathy vocal appears and signals the start of what will become a bit of a signature vocal sound for McLachlan.

Material from Surfacing has a poppier feel to it and includes a track (Angel) that most people will be familiar with. The album also includes one live track I Will Remember You from her Mirrorball live album which shows off her vocal prowess in a live setting.

As an introduction to someone new to Sarah McLachlan, this is a good compilation. (Just skip the first three tracks!)

For Sarah’s die-hard fans I’m not sure there’s enough here to justify a purchase – apart from the two new tracks and perhaps the ease of having some of her best material in one place. Douglas Lang

Madeleine Peyroux: Bare bones

Rounder Records

For those who have not yet caught up with this talented singer this is as good a place as any to start. While the Billie Holiday comparisons have been overworked, there is no doubting the legend is brought to mind on selected tracks, most notably on this set with the bleakly Holliday-ish titled Homeless Happiness. Often regaled to the dinner party this chanteuse deserves a more applied listen as the first half of this release shows.

This set brings some standout tracks destined for the inevitable greatest “hits” package, notably the first four tracks where the melody is made for the voice, the lyrics are worth the ink and the commitment and belief is palpable. This cannot be said for all the remainder, as a formulaic approach and a hint of the routine emanates from some of the rest such as the lamentable To Love You All Over Again. Yes, I think fans and new comers alike should investigate, though if you have saturated yourself with the previous three releases you may well find not too much that is new on offer here. Allan McFarlane

Finley Quaye: The Best of the Epic Years

Sony BMG

The man originally from Edinburgh has been in the music scene in the UK for a decade or so now and brings a spectrum of music from reggae to his brand of underground pop. Hailing from a musical family, Finley has music in his veins!

We kick off the first track with light and summery Sunday Shining, which is co-written with the one and only Bob Marley. This followed by the delightful Abbey Road Version of Your Love Gets Sweeter.

The range of sounds from his vocal chords are a great sound indeed and these are definitely reflected in the iPod recommended tunes. Kick it off with the grungier tracks White Paper and Spiritualized and finish with the beautiful and love provoking Dice.

Ah Mr Quaye, 16 tracks of pure pleasure! Ants Fong

John Scofield: Piety Street

Emarcy

Acid hard, yet pleasant sounding, jazz guitarist Scofield gets into the pure Blues and Gospel songbook with 13 widely varied selections. For readers who were lucky to see and hear a recent Eric Clapton show in New Zealand recently, this disc sort of continues that contemporary “Masters’ Touch” notion. Authentic feeling song treatments by good soulful singers, and players on modern instruments where the piano is in tune, the guitar is “blues tuned”, and the solid “rizzim” section is tight as a virgins’, well, “virtue”.

Showcasing what are basic foundations of America’s greatest cultural contributions to the world, jazz, and rock and roll, this album pleasingly preaches musical messages that even non-believers will understand and appreciate.

Vocals by pianist/organist John Cleary or John Boutte are appropriately gritty and gravelly while “Sco’s” guitar weaves in, out, and around, complimenting, leading and totally giving magic to this music. Motherless Child, The Angel of Death, and Walk With Me, offer poignant emotional moments. Never Turn Back, 99 and a Half, Something’s Got a Hold on Me, and It’s a Big Army get the congregation into holy rollin’ and rockin’ with crisp funk, fat-back or shuffle beats bringing out spirits that move your soul, or at least your booty. Other tunes are spellbinding to the “Lawd”.

Recorded by James Farber, this disc is reference quality with particularly clean drum and tambourine sound within a perfectly balanced ensemble. John Paul

Dusty Springfield: At Her Very Best

Universal

What an indulgence. From the unheard of to the mega-hit Bacharach and Pet Shop Boys’ collaborations this compilation serves as a fun reminder of one of pop music’s true talents. What a voice. What command of at times ridiculous lyrics and gilded arrangements. All too much to gulp down but a welcome reminder and well worth an occasional dip (or shuffle) into. Forty-five tracks over 2CDs, remastered just fine, with liner notes for those less challenged visually than me. Great fun. Allan McFarlane

Lucinda Williams: Little Honey

Lost Highway

It’s been a long time since Car Wheels On a Gravel Road, still the best of Lucinda Williams’ work. So good was that release that we all keep plunging in to the new offerings hoping for the return of the “x” factor. Little Honey comes close as Lucinda has clearly found her beau and clearly shares the happiness. Not all tracks can be taken seriously and some such as Well, Well, Well and the Elvis Costello guest track Jailhouse Tears (deliberately?) border on the twee.

Stand out tracks are the sublime Knowing, and Plan To Marry, while the confidence is somewhat nervous on Tears Of Joy. At times Doug Pettibone’s guitar can be over prominent but all in all what I hear here is an album struggling to contain a set of tracks bursting out to be given the live treatment. No bad thing with a tour eminent. Get to both. Allan McFarlane

Various: Jazz For A Coffee Break

Savoy Jazz

This is a mercurial medley that often hits the elusive spot but which also sometimes misses the point. The title’s implied purpose is to supply a discreet soundscape for those taking-time-out-from-tension sessions where being lost in reflection or conversation is facilitated by just-so musical musings that prompt but don’t impinge. With the current ubiquitous use of jazz for alleging ambience, the risk runs high of clichéd tones and rhythms undermining rather than developing atmosphere; if it sounds corny, insipid or insincere then you’re sunk.

Although scarcely a premier league muster, this Savoy stable (including the ‘various’ of Hank Jones, Pat Martino, Larry Coryell and Peter Erskine) generally rise to the occasion; however, there are certainly limp over-milked latte moments that would provide apt accompaniment for time-share promos – and when we’re left to rue the cringing scourge of jazz-lite. Mostly, mercifully, the brew is fine: right temperature and pressure, calibrated constituent parts, and subtle and strong. Paul Green

Anne-Sophie Mutter plays Bach & Gubaidulina

Bach: Violin Concerto in A minor BWV 1041; Violin Concerto in E major BWV 1042 (with Trondheim Soloists). Sofia Gubaidulina: In tempus praesens (with London Symphony Orchestra conducted by Valery Gergiev)

Deutsche Grammophon

There is no doubting the continuing mastery of Anne-Sophie Mutter as one of the greatest contemporary violinists. The faultless Bach and the extrovertly virtuosic Gubaidulina bear testament to this fact once again. I do however find myself questions her assertion of a major link between these two composers. Centuries and styles apart I fail to find any link other than the last pages of the Gubaidulina attesting to a similar spirituality.

However, persevere though I have I have repeatedly returned to the Bach on this disc as a refreshment after taxing my way through the new commission. Plenty have found the Gubaidulina the highlight of this release, and yes the Russian shows extreme mastery of orchestration. I however remain unmoved. Allan McFarlane