Soul singer Toshi defies convention on new CD Angie Stone, Mos Def help out Japanese star

Editor’s Note: In Sound Advice, the first Saturday of every month, veteran NEWS entertainment writer Dale McGarrigle, former British music-press writer Adam Corrigan, NEWS sportswriter and rock buff Andrew Neff and a revolving stable of NEWS writers review new albums from across the musical spectrum.

“Time to Share” (Sony Urban Music/Epic) – Toshi

Many of today’s smooth urban singers grew up grooving to such Motown staples as Stevie Wonder and the more-obscure Stylistics.

But it’s a safe bet that only one of them comes from Japan.

With his latest album, Toshi (ne Toshinobu Kubota) proves that soul is a universal sound, not one that is limited to the United States. With listeners’ eyes closed and ears open, it would be easy to mistake his rich, velvety tones for D’Angelo or Maxwell.

The multitalented singer also wrote all 11 songs on the well-crafted “Time to Share,” his second U.S. release. He shares the writing credits on all tunes, but that’s not a bad thing, especially when his collaborator on five of those is neo-soul goddess Angie Stone. Stone, who guests on the album along with Mos Def, has said of him, “Toshi has a lot more soul than a lot of people I grew up with.”

Toshi is already challenging people’s conceptions of what a soul singer is. The trick now is not to become a novelty, but instead a presence. With friends such as Stone, Raphael Saddiq and the Roots’ Ahmir Thompson, the latter is more likely to be the case. “Time to Share” shows that Toshi is here to stay.

– Dale McGarrigle

“Shangri-La” (Warner Bros.) – Mark Knopfler

It’s been nearly 20 years since “Brothers in Arms” became pretty much Britain’s first CD, and a vital yuppie accessory. And immediately Dire Straits were unthinkingly shifted to the uncool territories – somewhere near where Sting has a fabulous mansion today. At best, it was music for grown-ups.

All of which is a shame, as Mark Knopfler’s music has always been beautifully crafted rather than simply easy listening. If a great ear for a tune is a crime, I indict Kurt Cobain alongside Lennon, Bowie and a remarkable number of others who the musical cognoscenti routinely worship.

Knopfler’s elegant glissando is, as so often, well to the front here, tracing lazy swathes of space. Yet despite this hinting at the infinity of bleached prairie skies, his muse wanders a distinctly British and vaguely Celtic path, the measured vocals often calling to mind the melancholy amblings of Christy Moore. Lyrically, Knopfler remains primarily a storyteller with a poetic lilt, artfully casting his tales of bad men, lovers with distant eyes, hamburger moguls and skiffle legend Lonnie Donegan.

As the singer-songwriter has undergone a renaissance in recent years, it’s good to see an old hand like Knopfler still having something to say, and still shining.

– Adam Corrigan

“Spider-Man 2: Music from and Inspired By” (Columbia) – Various Artists

The movie was even better than its predecessor and the CD fares no worse in comparison. This soundtrack features several solid songs by breakout new artists such as Maroon 5, Smile Empty Soul, The Ataris, Yellowcard and Lostprophets, as well as accomplished acts including Train, Dashboard Confessional and Hoobastank.

This is clearly a rock-based album, but the inclusion of two instrumental offerings by Danny Elfman – although scored specifically for this movie – seem out of place.

That is the only criticism here, however, as this soundtrack is further proof that the movie industry recognizes the importance of the music industry and strives to include quantity as well as quality on its movie-based soundtracks.

– Andrew Neff