In “Sound Advice,” the first Thursday of every month, veteran NEWS entertainment writer Dale McGarrigle reviews new rock, pop, alternative, country, folk or blues albums. Different NEWS writers contribute reviews from other musical genres.
“Binaural” (Epic) — Pearl Jam
Whenever I hear Pearl Jam on the radio (about 1/50th as often as I hear Britney Spears), it’s usually an old track. The latest effort from the Seattle-based rock band isn’t particularly radio-friendly, but that’s not a bad thing.
In some ways, “Binaural” returns to the philosophy, but not the sound, of “Ten.” It’s gritty, edgy and honest, resulting in some unexpected pairings. “Grievance” — a hard, fast throwback to the “Vitalogy” days — immediately follows “Of the Girl,” a jangly Fleetwood Mac-meets-Led Zeppelin tune.
Sometimes, the contrast is jarring. The big, complex, layered sound of “Sleight of Hand” comes immediately before “Soon Forget,” in which Eddie Vedder sings along to a ukulele.
It’s been a while since Pearl Jam could neatly fit into the category of grunge or alternative rock. With each album since “Ten,” their sound has grown. In “Binaural,” the band stretches even farther, stopping to look back at where they came from, and giving a glimpse at where they’re going. The road is a little bumpy, with a few twists and turns, but it’s a fun ride. — By Kristen Andresen
“Fear of Flying” (University Music Entertainment/Interscope) — Mya
In this sophomore release, the Maryland native has made the leap from teen to adult content. Mya (ne Harrison) may only be 20, but she shares with listeners experiences far beyond her age on this album’s 18 songs.
“Fear of Flying” is about stepping up, taking chances and making choices, and that’s what Mya has done. Even though the talented singer and dancer has been surrounded by an all-star team of producers, writers and guest artists, she makes her own contributions, writing or co-writing nine of the album’s songs.
The release is rich with beats, with tunes that bounce around one’s head and lodge in the memory, at the same time getting the listener movin’ and groovin’. It’s bubblegum soul, not all that filling but tasty all the same.
The drawback with “Fear of Flying” is the repetitive subject matter — it’s largely about relationships, good, bad or indifferent, without much in the way of profound insights. Also, sometimes Mya’s vocals get buried under the many layers of production.
Still “Fear of Flying” shows that Mya is a performer to watch, and it is a firm step forward for her. Perhaps fewer producers and more diverse material will help her to shine on future albums.
“Before the Calm” (MCA) — Witness U.K.
There’s no denying it, Witness U.K. is a band ripe for comparisons. After all, we’ve had more than our fair share of young British boys dripping their neuroses over vinyl (or CD plastic or whatever) in recent years. What’s more, the band hails from Wigan, England, hometown of The Verve, and few reviewers have got through an entire review of Witness’ wares without mentioning Mad Richard’s crew. And I guess I’m no exception to that now.
Anyway, Verve comparisons are, to a degree, just geographical red herrings. They are also somewhat unfair. As are comparisons with many of the other gangs of the British broken hearted. You see, “Before the Calm” touches me more than Travis can and hugs me more tenderly than Embrace ever did.
“Calm” is an album existing in the eye of a storm, filled with power, temporarily divorced from turmoil, and more than a little haunted.
Witness produces a wrapping that is swirling, often sparsely hypnotic, and knows when, sometimes, a person can only take so much, and has to just start kicking out a bit to quiet those voices. Meanwhile, inside, Gerard Starkie croons the songs of a man cursed with a certain prescience. The spirit that simmers behind his words is damaged; the cracks are just hidden.
And, as his voice begins to break, he gently croons, “Everybody’s got a burden that they could do with sharing.”
Which is OK, because sometimes it’s a real pleasure to be shared with. — By Adam Corrigan
“11/12/13” (Dead Reckoning Records) — Kieran Kane and Kevin Welch
This cozy collection brings together 13 tunes by two men better known as songwriters than performers. It also proves that Kane and Welch are underappreciated for both of their talents.
Kane has had eight Top 10 country hits (six as part of the duo the O’Kanes), and his songs have been cut by Emmylou Harris, John Prine and Alan Jackson, among many others. Welch’s creations have been recorded by The Highwaymen, Trisha Yearwood and Ricky Skaggs.
This live album, the first for both, was recorded Nov. 12-13 of last year at the Continental in Melbourne, Australia (the shows won them Best Club/Pub Gig of the Year in the Rhythms magazine readers’ poll). It accurately reveals what the Aussies got to enjoy and what country fans in the States have been missing.
What Kane and Welch alternately offer is pure, sparse, more folk or blues than country. These modern-day Steinbeck have written songs that are largely about people down on their luck and often on the move. Even the two covers they’ve chosen, John Hiatt’s “Train to Birmingham” and Hank Williams’ “Ramblin’ Man,” fit well into their theme.
Those who reign in Nashville have long known Kane and Welch to be reliable sources of memorable songs. “11/12/13” only reiterates that fact.
Comments
comments for this post are closed