Album review: Justin Townes Earle moves on with ‘Nothing’s Gonna Change the Way You Feel About Me Now’ (MP3 download)

Justin Townes Earle
Nothing’s Gonna Change the Way You Feel About Me Now
Bloodshot
 
That Justin Townes Earle would begin his career in the shadow of other great songwriters was unavoidable; after all, his father is Steve Earle, and he carries the name of late Texas songwriter Townes Van Zandt. 
 
Yet despite the long shadow those two songwriters cast, the younger Earle has always forged his own path musically, a path that has typically been much more country than that of either his father or his namesake. However, on his latest record, “Nothing’s Gonna Change the Way You Feel About Me Now,” he diverges from that country road and channels a Memphis soul sound.
 
Earle has spoken both of the similarities between chord progressions in soul and country music, and of the fact that both musical genres have roots in the church, in gospel and worship songs. So, the move from a Nashville to a Memphis sound was a logical one for him, and the record was even recorded in a converted church. Produced by Earle and “Harlem River Blues” co-producer Skylar Wilson, it was recorded live in the studio (no overdubs), over a four-day period in Asheville, N.C. Their intention was to create a collection of songs that were both timely and timeless.
 
Still, Earle seems burdened by his familial connections. The record opens with “Am I That Lonely Tonight?” as he sings the first line, “Hear my father on the radio, singing ‘Take me Home again.’” A subtle horn section swells behind the singer’s vocal, underscoring the forlorn feeling that pervades the song and the record overall. The horns serve that same purpose throughout, as on “Look the Other Way,” a sad, albeit more hopeful, tune about trying to get the attention of a woman. He could be a better man for her, but she always looks the other way.
 
There are some upbeat songs here too, such as “Baby’s Got a Bad Idea,” but many of the songs are slower numbers; quiet tunes and hushed confessionals that offer a glimpse into a conflicted and desolate world of heartache and loneliness. The record finds a groove, however, as on “Down On the Lower East Side” with its jazzy beat, brushed snare and muted trumpet. But in spite of arrangements and the Memphis soul spirit, it never really swings until nearly the end, with the rollicking “Memphis in the Rain,” one of the best songs on the album.
 
Earle brings a lot of emotional weight to his lyrics, and by the end of the record it seems he’s at least worked through some of his issues as he closes the album with “Movin’ On.” With a great walking bass line and simple supporting harmonica, Earle sings, “I’m trying to move on,” and the listener feels he really means it.

“Nothing’s Gonna Change the Way You Feel About Me Now,” is a solid effort from talented young singer-songwriter. If a record like this is the result of Earle “movin’ on” from his country and Americana roots, then it will be fascinating to see what musical direction he heads in next.

“Look the Other Way” – Justin Townes Earle

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Posted by | May 7, 2012 | Album Reviews | 1 Comment 

Album review: Brothers Lazaroff continue their journey through Americana with ‘Science Won’

Brothers Lazaroff
“Science Won”
Self-released

Brothers Lazaroff are ever-evolving. From their Austin-inspired alt-country beginnings, they’ve added new layers of other forms of American music with each album. Their new release, “Science Won,” blends styles and genres to create something entirely new about the oldest theme in the world — family.

Album opener “Where Are You Going Now” hints at their rootsy strengths with acoustic strings, modernized with Grover Stewart’s brushed drums and minimalist jazz guitar riffs under brothers David and Jeff Lazaroff’s harmonized chorus. Combined with image-laden lyrics, the whole creates a multi-layered scene of modern domesticity that carries through the album.

Mo Egeston starts the darker “I See Her” with a fleeting moment of improvised jazz piano that morphs into Stewart’s steady percussion and Teddy Brookins’ subtle bass that roots the song. This piano-drum-bass foundation rolls through the entire album, topped with the Lazaroff’s more folk-flavored guitars, especially on “Picking Up Sticks.”

No single sound prevails. Instead, stitches of jazz, folk, country and rock create the fabric. It doesn’t make for a quick, throw-away listen. Much of the album’s appeal comes from discovering the layers. Listen one day, and the jazz influence stands out. The next day, it’s the poetic lyricism and strong visual imagery. Later, the rooted folkiness of the guitar arrangements comes through. It’s subjective to mood, setting and listener experience.

“Sometimes I feel so defined by what my ancestors said,” begins “Under the Tree,” continuing the theme of coming to terms with family, ancestry and generational expectation. “35 Summers” picks up the idea with its images of “some crazy old woman rambling on and on, talking about the kids, the ones that don’t belong.”

“Where Light Betrays Night” pairs sweet vocal harmonies with sparse instrumentation that twists into a funk riff, then straightens itself, twisting and turning to the end when it blends into “Keep it Dark”‘s catchiness that belies the lyrics.

The last quarter of the album is devoted to the more positive aspects of the theme, starting with wedding-ready love song “I Could Stay Here for the Rest of My Life,” to the tongue-in-cheek “It’s All Relative.” The climax of the album’s story, the song sums up what every family does: loves, fails, tries to do right, fights, succeeds, and keeps moving, all with no set pattern and rules.

“The Waltz of No Time” begins the album’s end. Taking a waltz meter with minimalist, modern instrumentation to set a scene of rooted timelessness that dips its toe into jazzy chaos before going silent.

The title track concludes the album with a return to the band’s folk roots. Sparkling acoustic strings shine over a quiet rhythm section, closing the album with, “She never would admit that science won.” What science? Not sure. Science of genetics, or human chemistry, perhaps. Science of evolution that fuels change and the marriage of species, be they mammal or musical.

“Under the Tree” – Brothers Lazaroff

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Posted by | April 19, 2012 | Album Reviews | Comment 

Album review: Lucero gets deep into Memphis soul with ‘Women & Work’

Lucero
“Women & Work”
ATO

With their latest studio record, “Women & Work,” the alt-country rockers known as Lucero have managed to harness fully the music of their hometown to make their most Memphis-sounding record yet.

The album, their second consecutive project recorded at Ardent Studios with producer Ted Hutt, presents the musicians at their polished best. In an interview last fall singer Ben Nichols told me that the group had “stumbled” into their last record “1372 Overton Park.” Here, the prior experience the band received recording at the historic studio completes the transition from a country band with punk roots to a rock outfit brimming with soul.

The title track begins with Rick Steff (piano/organ) providing rock ‘n’ roll boogie-woogie piano and some Chuck Berry-style guitar that harkens back to all those songs recorded across town at Sun Studios more than a half century ago. Yet, Nichols’ lyrics bring the song back to a modern punk-rock reality with the line, “The women and the work and the booze in between. Got ya puking in the aisles and smashing TVs.”

Newer styles, not previously found in Lucero’s repertoire, further enhance the quality of these songs. Though filled with elaborate instrumentation and warmth, the band still retains a raw feel. For example, “Juniper” is a bluesy stomp whereas the band goes full-on soul for “Who You Waiting On?” complete with a Booker T.-esque B-3 organ from Steff. Not just content to add horns to the sound with Memphis professionals Jim Spake and Scott Thompson, the outstanding background vocals from “the Ho-Moans” — aka Susan Marshall and Reba Russell — offer further proof that Lucero is comfortable with the Memphis sound.

Nichols’ songwriting continues a theme to incorporate chasing love, pining for lost loves and the ever present references to having some cocktails. Not until the album closer, “Go Easy,” do the lyrics feature a protagonist that has the girl, but even then it’s tenuous as the opening line indicates, “Hold on, darling hold on. A storm is coming on. I’ll keep you safe.” With the background vocals, mournful horns and piano included, this track takes on a deep spiritual quality.

Lucero manages to slip back into their old sound for “I Can’t Stand To Leave You” and “When I Was Young,” songs with picked guitar chords and pedal-steel flourishes that could easily find a home on the band’s previous albums “That Much Farther West” or “Nobody’s Darlings.”

Steff’s boogie-woogie piano returns for “Like Lightning,” the most upbeat track on the album — a sure barn-burner in a live setting. Nichols belts his signature raspy vocals as he sings about chasing after the girl he’s head-over-heels for: “She’s got a kiss like a thunderbolt. Electric lips that shock me to the bone.”

Die hard fans of “1372 Overton Park” may lament the ratio of rockers to weepers, but what the band gave up in fury only earned them depth with a sound that suits their experience level. Like a new tattoo, they now wear the sound of their hometown proudly.

Posted by | March 20, 2012 | Album Reviews | 1 Comment 

Album review: Punch Brothers knock out acoustic music with ‘Who’s Feeling Young Now?’

Punch Brothers
“Who’s Feeling Young Now?”
Nonesuch

“Who’s Feeling Young Now?” will prove to be one of the most respected, lauded, challenging and influential works of the year. But that doesn’t mean you’ll like it.
 
This is a band that I admire immensely, and there is no doubt that their talent is simply staggering. As one reviewer noted, their work is “inexplicable,” and he meant that as a compliment: It’s not bluegrass, though the members here come, in a way, from that world. It’s not stringband music, though the strings are there and they refer to themselves as a band. And what they do is so remarkably different from the surrounding landscape that approaching their work might be similar to seeing cubism for the first time. You’re left wondering: Is it good? Do I like it? Of course what the Punch Brothers have that the first cubists didn’t is that, no matter what you think of what they’re doing, their authority as artists is simply impossible to overlook. They really are that good.

Perhaps more than the earlier Punch Brothers releases, this album shows how interested the band is in taking their instruments into pop/rock territory, though bringing something new with them rather than just moving into the established forms. But, by the same token, it’s easy to wonder if their audience is really interested in going there with them. To some extent, I’m a member of their audience. A fan of Nickel Creek, I caught every show of theirs I could. I remember going to Merlefest a few years ago and trying to find all the sets where Gabe Witcher was featured, as his playing was stunning. He had a mohawk then, and while he was clearly looking to color outside the lines, he could be just as brilliant sitting in with players who kept him closer to the tradition.

I also remember seeing him take a turn on piano that, itself, was brilliant. In the background, stranded and seated behind a grand, his playing upstaged everyone else, including the vocalist. That’s not an easy feat when everyone else on stage has the benefit of a much greater interface with the audience simply by virtue of being able to move around a bit.
           
In any case, the Punch Brothers are players with a pedigree looking to chart new territory, and it’s an understatement to say that they’re succeeding at it. They will get lots of pop writers gushing over this release, and that certainly has already happened. Those writers will say things about bluegrass, but that’s simply because there is a banjo player. There is nothing bluegrass about this album.

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Posted by | March 6, 2012 | Album Reviews | 1 Comment 

Album review: Paul McCartney charms with ‘Kisses on the Bottom’

Paul McCartney
“Kisses on the Bottom”
Hear Music

“Kisses on the Bottom” is a collection of standards by Paul McCartney. This style of music is in McCartney’s DNA, every bit as much as the music of Little Richard or Carl Perkins.

Long before becoming a Beatle, Paul McCartney was exposed to the pop songs of the ’30s and ’40s through the strong influence of his father James, who played mostly ragtime jazz in the Jim Mac Jazz Band in the ’20s. McCartney’s father also would play the pop songs of the last 10 to 20 years at home with young Paul and the family gathered around the piano.

Those tunes never left McCartney and it was through them that he learned how to structure a pop song, how to sing harmonies and how to move the listener. His career is dotted with examples of his fondness of the standard and that style: “Till There Was You,” “Honey Pie,” “You Gave Me the Answer,” “A Room with a View” and “The Very Thought of You.” This album has been on his mind for a very long time.

Including the bonus tracks found on deluxe versions of the CD, released February 7 on the Hear Music label (jointly formed by Concord Music and Starbucks), there are 14 tracks; all are standards save for three McCartney-penned numbers (two new, one from 1979) written with the feel and style of the others. The songs hang together well — stylishly, instrumentally and lyrically.

Lyrically these songs are born out of an era when pop music was meant to lift the spirits. America had been through the Great Depression, then WWII. In Liverpool in 1942 Paul McCartney was born when the scars of the German bombing were still clearly visible throughout the urban landscape.

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Posted by | February 21, 2012 | Album Reviews | Comment 

Album review: First Aid Kit stings, heals and soars on ‘The Lion’s Roar’

First Aid Kit
“The Lion’s Roar”
Wichita

To single out one song for praise on the new First Aid Kit album “The Lion’s Roar” would be akin to extolling the beauty of a single stone in a mosaic.

With the help of producer Mike Mogis the Swedish sisters have given their sound and songwriting an overall brilliant polish.

For most artists convening in the Midwest to record their sophomore album the ac tmight be seen as a retreat into the hinterland. For Johanna and Klara Söderberg it was more of a pilgrimage. They got to record with Conor Oberst, the man who produced some of their favorite records and their self-described hero. Though he only appears on the closing song, his firewater spirit inhabits much of the album.

Separately and together the sisters also have a quality Conor always bemoaned he lacked: a fantastic voice. They bend notes into harmonies as if their vocal cords come equipped with whammy bars, and on songs like “To a Poet” their vocal melodies pitch and roll across the sky like biplanes trailing smoke. The voices intertwine and then break off into solitary loops only to find each other again at the apex or nadir.  

Just as the Stones lined their veins with blues records out of Chicago to pump out some of the greatest rock ‘n’ roll the world had heard, First Aid Kit has done Americana better than almost anyone currently dwelling this side of the Atlantic. Does it take outsiders to see the better picture through the details? Perhaps.

And perhaps someday someone will write a paean to Johanna and Klara much like their own plea to Gram and June on “Emmylou.”

Posted by | February 20, 2012 | Album Reviews | Comment 

Album review: Smashing Pumpkins still sparkle on ‘Gish’ and ‘Siamese Dream’

Smashing Pumpkins
“Gish” and “Siamese Dream” Deluxe Reissues
Virgin

Smashing Pumpkins‘ debut record “Gish” was released in May of 1991, just over 20 years ago. Their second record, “Siamese Dream,” came a touch over two years later in July of 1993.

By the time “Siamese Dream” dropped, the Pumpkins had been thrown (or more arguably, jumped) headlong into the alternative rock maelstrom that put loud, ragged, deviant thrashing at the forefront of the commercial music industry. The monstrosity of that world would leave them battered and artistically and commercially dulled, but what remains of those early years still resonates.

Remastered editions of “Gish” and “Siamese Dream” were released separately in November 2011, and are each accompanied by a full disc of non-album material. Much of this extra material has seen prominent release before. Though many have been remixed for this release, a large number of these cuts were B-sides or appeared on the compilation “Pisces Iscariot,” released in 1994. Also present in each reissue is a DVD of a live performance from the period and extended notes from Billy Corgan on the original album material. (Notes on the non-album tracks would have been nice as well, and likely more valuable to the listener.)

While not much in these collections is fully new, the bundling of this material from the band’s early period — which is both wide and deep in scope — gives a comprehensive representation of their work and identity that until now has been harder to glimpse.

Perhaps the most iconic Smashing Pumpkins album is their third, “Mellon Collie and the Infinite Sadness,” which captures the sprawling, cinematic vision of singer, guitarist and creative principal Billy Corgan better than anything else they produced. The music on that record is well-polished and presented with every care to control what the listener hears and, in the case of the accompanying videos and artwork, sees. By design, very little reality exists on the fantastical “Mellon Collie.” The story of the band’s artistic maturation is obscured.

That story is wrapped up in their first two albums, which portray a naive group of talented individuals that managed to create some of the most ambitious and impactful music of their generation in spite of infighting and immense pressure (both external and self-imposed). They haven’t been lionized to the extent that many of their peers have (cf. Nirvana, Sonic Youth, Pearl Jam). But the band’s best contributions, primarily present in these collections, argue for elevated status in spite of the disfigured image the band would eventually acquire.

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Posted by | February 15, 2012 | Album Reviews | Comment 

Album review: Craig Finn mines the riches of regret on ‘Clear Heart Full Eyes’

Craig Finn
“Clear Heart Full Eyes”
Vagrant

Craig Finn left Brooklyn to record “Clear Heart Full Eyes” in Austin during a four-month break for the Hold Steady. While he arrived in Texas with songs in hand, the actual recording process — including meeting up with producer Mike McCarthy and introductions to musicians Josh Block, Jesse Ebaugh, Ricky Ray Jackson and Billy White — took only three weeks.

This is a short time for most artists, but especially ones who are working with purposefully different material and unknown (to them) musicians. It should also be noted that the musical atmosphere of Austin is a world away from Finn’s Minneapolis roots and current home in New York. However, as the album is named, Finn went in with honest intentions and his own experience, and came out with a straightforward, earnestly-performed album full of rich details to be discovered on every successive listen.

The first track is the spectacular “Apollo Bay.” It’s pensive, conflicted, dripping with spacey lyrics and Catholic guilt, hovering just above all-out weirdness with a throbbing beat that turns it dead sexy just before a keening slide guitar hints at Austin’s alt-country trademark. That slide guitar is a subtle clue ringing out from a psychedelic landscape, a tell that Finn is out of his element but backed by musicians he can trust. Although he recorded on a break from the Hold Steady, he is not at all alone.

Although much of “Clear Heart Full Eyes” has a definite country influence, there are a few tracks that are textbook rock ‘n’ roll. Another one of my favorite tracks is “No Future,” the bleak subject of being dead on the inside punched up by a very Springsteen-esque melody and cheeky declaration that Finn will take advice from no one but Freddie Mercury and Johnny Rotten.

Finn’s flat, narrative voice is too distinctive to leave the Hold Steady completely behind, as is his writing style. He’s still not really a singer, but the more mellifluous vocals he began using on 2006′s “Boys and Girls In America” are trimmed back again for something like occasional spoken word. His songwriting is affected by a similar paring down, something more contemplative and appropriate for a solo project and less so for a rock band. Finn still swims in complicated phrasing and big words, though, wielding his literary references in thoughtful riffs about speed, people he used to know, and Jesus.

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Posted by | February 10, 2012 | Album Reviews | Comment 

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