Also want to remind everyone that next Saturday (that's April 16) is Record Store Day 2011. What is RSD you ask? Artists release special or limited editions of albums or singles on this day and are distributed only to independent record stores (no Amazon, no iTunes, no big-box stores, etc.) as a means of promoting indie record stores and just the purchase of music at all. Many releases are also only on vinyl (as a means of promoting this medium) and it may in fact lure me in this year. Visit the website to find out where your local record stores are and get to it!
Various Artists "Ghana Special: Modern Highlife, Afro-Sounds & Ghanaian Blues 1968-81"
Another Afro-rock, cross-genre 70's compilation (in two discs). The same comments from my review Bokoor Beats basically apply, but there are a few differences. This set is more focused on bands with a more African sound rather than a rock sound, but many influences are readily apparent of course. This difference is most notable in the percussion: several-member percussion sections of shakers, bells and hand drums (not at all dissimilar from salsa bands) replace drum kits, but there are some selections with the latter. It also felt like the overall feel of the compilation was upbeat, due to the syncopated percussion, high pitched clean guitar, moderately fast tempos, and major keys. Bokoor Beats tended to focus on what might have been close to 2am The Doors jam sessions--brooding, in minor keys, and looping endlessly. Essentially, highlife plays a bigger role in these recordings, although two or three bands make appearances on both collections. Anyone interested in African, Latin, or cross-genre rock music would find this compilation worth a listen.
Deerhunter "Halcyon Digest"
Unlike other Deerhunter experiences I have had, Halcyon Digest was a CD that I enjoyed listened to. Which is saying something, seeing as I did not want to (and did not) finish Cryptograms. Elements of lo-fi, psychedelia, 60s pop/rock, and surf rock are found in the sound, mixed with something modern to create this "indie" rock. Some of the more lengthy or under-orchestrated tracks may put you to sleep (not necessarily a bad thing of course) but they are distributed between drum-driven tracks to liven things up. Most of the chords are simple; most of the vocal lines are simple too I guess. I'm guessing Rivers Cuomo listens to Deerhunter. Kind of like Weezer with longer songs and no fuzz pedals. In any case, this one is probably worth a listen, and maybe this means they're going in a more listening-friendly direction (album is from 2010).
Femi Kuti "Shoki Shoki"
Funky, sexy Afrobeat for a modern age. The very full sound contains funk drums, two guitars (often one staccato and one wah-wah), bass guitar, synth/organ, Femi Kuti's powerful vocals and a cool handful of backing vocal harmonies. Solos on trumpet, saxophone, trombone and others are showcased. Don't forget the extra rhythms in the percussion, lots of different beats to choose from. Femi Kuti is the son of Fela Kuti, recognized as the founder of the Afrobeat sound and related political movement, so it's only proper that Femi is following the traditions and continually updating them to modern tastes and trends. The 70's sound is barely discernible anymore (aside from I guess the wah-wah pedal and the occasional electric clavichord) and the complex rhythms that are usually present in several percussion instruments are all incorporated into the drum set much of the time. You could definitely imagine people dancing in a club to this music in the year 2011 not 1971. So perhaps some of you who find the original Afrobeat/rock too dated in sound/style may find something more palatable among this generation of Afro-sounds.
Cheap Trick "The Greatest Hits"
Sorry, you can't put 13 tracks on a CD and say they are Cheap Trick's greatest hits. At most they have like four. Actually, 4 of the 13 tracks are covers, including a really terrible rendition of "Magical Mystery Tour." Who covers that? "Don't Be Cruel," yeah ok, you can't really mess that up. How can that be a hit? If you have "I Want You to Want Me" and "Surrender," you pretty much have all that Cheap Trick contributed. These guys are so close to being a one hit wonder that they wanted to put out a Greatest Hits album to make themselves and their label feel better. Now THAT'S a cheap trick. (audience moans)
Pink Martini "Hey Eugene!"
If you don't know who Pink Martini is, they are a veritable band of gypsies, a multi-talented, multi-instrumental, multi-lingual, multi-genre ensemble whose sound could be welcomed by both twentysomethings and their parents (not an easy feat). Styles fluctuate between the crooner/lounge vibe and many Latin up-beat genres; however, they have also been known to portray styles from Africa, Russia, Eastern Europe, Arabia and Japan. And they sing in the appropriate language. So what exactly IS this band? It's hard to say, but they definitely carry the 1940's crooner "glamorous" vibe into their arrangements and the production of their recordings. Only the title track does not fit into these classifications; it is a fairly straight-ahead rock/funk number and frankly very dull. Definitely not a rock band, and not simply a world music collective either, but somewhere in between. They play theaters not stages and sell tickets for $45 not $20, but I imagine their show is worth it. These are musicians' musicians and I guess you get what you pay for. Anyone interested in jazz and world music (with American production) should take a listen.
Michael Bublé "Michael Bublé"
The other half of every teenage girl's John Mayer musical Brokeback fantasy, Michael Bublé makes his debut with a bunch of good tunes. I'm sure it's been said a million times, but he's the young Sinatra for the 00's. First of all he's got a great arranger and a great band behind him. Second, he's done his homework. Everything in his interpretation is legit, musical, and well-founded, based on crooners that have come before him and also the influence of modern sounds. You can't really take away the "old" sound of the Sinatra recordings and likewise you can't really take away the "modern" from Michael Bublé (at least not yet). Third, the dude's got a great voice. C'mon. For this reason, he joins my iTunes (I have two other albums as well) sans guilt. "For Once in My Life" shows up here again (also on the Sinatra album I reviewed earlier). I never knew it was such a swingable, crooner-type-singable song. I like the original, but you know, it works. Also love the rendition of "Crazy Little Thing Called Love." It's not TOO far from the original version, that's the fun part.
Frankie Valli & The 4 Seasons "Greatest Hits, Volume 1"
New Jersey native Frankie Valli and his unusual falsetto are well known all over thanks to a few hits found on this collection. "Big Girls Don't Cry" (cry yai yai) is probably the biggest hit and as was the case in the 60's, many of the others are simply recycled songs already written and recorded by other artists. The other 4 Seasons don't have nearly as big a role as Frankie and not as much as other non-lead members of male vocal groups of the time (like the Drifters?). They're more like backing singers, not part of a rich four-voice harmony. So as long as you like the Frankie Valli show, you'll be fine. There's a chance you may not and there's a chance you may think it is impossible that the sound you are hearing is coming from a man, but no, it's true. The most alarming is also my favorite among the collection, the first track, 1962's "Sherry." He sings a G in chest voice, then his voice changes on the way up to a C then up again to an E before descending and finishing the word "Sherry." Fascinating just from a scientific point of view. Also the cover of "Don't Think Twice, It's All Right" I did not see coming (substitute Elmo for Dylan). Hard to imagine this is the same group that would later produce "December 1963 (Oh What a Night)", but yes, that is the same 4 Seasons. I assume that's for Volume 2. I'll let that one go.
Otis Redding "The Very Best of Otis Redding"
I had no knowledge of Otis Redding's story, including his life and his music, other than that famous song, prior to this CD. Otis Redding is what you would call a soul singer. The arrangements are one thing, the grooves, the beat, the horn section. It's not really about the songs. Soul music (as I've come to understand thus far) is characterized by interpretive vocalization as a means of heartfelt expression. If there is one word to describe the music it would be sincerity. Otis Redding wears his heart on his sleeve and his voice becomes the sole vehicle of conveying those emotions. This is done via a song, but it's not really the song itself that says something, it's the way in which it's done. He could have been singing in Japanese and you still would have understood what he was feeling through his voice. The liner notes were also very informative. As you may know about me, I prefer CDs and physical recordings to downloading music in file format; one reason is because it feels like you bought something if you have something in your hand and the other is for liner notes/album art. Redding's smash hit "(Sittin' On) The Dock of the Bay" was a departure from his earlier music (evidently, after listening to the other music collected here), but not entirely. The song is simpler, mostly containing full measures of sustained chords, less funky riffs and rhythmic content. And also he doesn't ever get really big, shout or let his voice crack like is done in other tracks for dramatic effect. But perhaps this is exactly the vibe he was going for. Watching the tides roll away. Redding died at age 27 (what?!) in a plane crash just 3 days after recording the #1 single, but as always, the music lives on. The more I come to understand soul music, it begs the question: why isn't all music soul music? Who wouldn't want to be emotional, dynamic, interpretive and sincere? Yes, I want to be callous, dull, unoriginal and fake; sign me up. And maybe some of these actually ring bells in today's world of pop music. Look for the soul. Seek it out. Decide for yourself whether you'll accept anything less.
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