My Morning Jacket - Circuital

If people weren’t busy being phonies then they’d probably realize how amazing a band like My Morning Jacket really is. I wrote about Z before and hopefully it’s gotten some good talk and now the band has returned with Circuital. Although it’s probably not as good as that 2005 masterpiece, the wonder with My Morning Jacket is the way they reign in on their strengths. Haters or shall we say, downplayers, will say “well, their live show is amazing but no one album can reach that height,” and really, that’s just phony, lame talk. A band can be judged for making great studio albums without needing to prove anything else to anyone else. And their merits lie in the fact that they make fantastic music: music that both entices and thrills with a sense of energy and spirit. So add another great album to their arsenal; it’s more than just an aphorism if you ask me, this is one awesome band.

On the title track to the album (click on the picture above to see the image in full size [bad ass liner notes that came with the vinyl]) Jim James’ voice is a marvelous thing to behold. Starting with a light drum stomp that is highlighted by a bright guitar part through the segues, James’ voice shines as the star of the show. You can hear the atmospherics that drive the band’s depth to an immersing spectrum and then you hear the roar of the drums as the songs kicks in and as everything breaks away, James sings “Circuits, all in and out…connect my body, deep into the ground.” The song rolls through its seven-minute pace with a sparkling keyboard that cascades the ending. Fully spreading the aforementioned spectrum into something lush, radiant and colorful, the music justly soars over everything else. It’s probably the most exciting moment on the album and really, tremendous.


Of all the other great tunes on this hit record, I couldn’t tear away my sentimental heart from “Moving Away”’s sad tones. It’s hard to really know what the song means but I’m guessing that he’s got no other choice but to move away, although he admits – with great dear care – “I won't forget the one I left behind.” The troublesome piano part lends itself as the lonely melody to support James’ bittersweet words as he sings, “I'll always be an alarmist who'll jump at a chance: anything for romance!...I hope I'll always be what you want.” There’s deep sadness in the sentiment he’s expressing but it’s as if there was no other choice and although she probably means a lot to him, he made the drastic move in moving away. In the end, it’s about looking for something new and exciting and well, as James sings, “A new life to create,” the somber piano closes out the album in lulling fashion. – Bryan

Arctic Monkeys - Humbug

Straight after two pretty stellar ‘hits’ – albums that many considered pretty awesome, some the first more than the second and then some, the second more than the first – the third album for Arctic Monkeys was some sort of a clash. Like a turtle that’s racing alongside of two sleek hares, it never seemed to catch the attention of most…let alone make ground on their prior successes. Most of it was due to the fact that Humbug features a stark new sound that enveloped the band's tones and instruments, instead of flashing them in their liveliest setting: like they did on bangers like “Teddy Picker,” for example. Still, this kind of turtle moves slowly but gradually, once you reached the ending suite of songs and you get into the blistering intensity of “Dance Little Liar” – where everything explodes into a cascade of overflowing towers – there is no doubt just how sweet this album is.

The biggest dissension for something like Humbug was the mere fact that it was far more produced than their previous two albums. And while the stormy atmospherics allow the music to creep in a lot smoother, the affect was noticed on the presence but never on Arctic Monkeys’ attacks. On “Crying Lightning,” they quickly ensure that everyone is aware that this is still a loud, rocking band with booming dynamics enabled. But once you dig deep into the all-encompassing mood of the music, Alex Turner’s words are pure and honest when he sings, “And your pastimes consisted of the strange…And twisted and deranged.” To me it’s as if he’s singing about falling for the wrong kind of girl and how their twisted ways are always due to some kind of past damage. He’s lost in her alluring ways and even offers some optimism (“Uninviting, but not half as impossible as everyone assumes”) but in the end, he hates the malicious game she plays with his heart– crying lightning – and forever tries to avoid her.


And so while their latest album continues to soak, there’s the beauty of the storytelling on “Cornerstone.” Lonely and heartbroken, the protagonist in this story is a lost soul that is trying to find anything, anyone to fill the void left after losing her. In so many ways, he tries to find lust with various close females that by trying to entice them (“She was close and she held me very tightly”) he could hopefully just call them by her name. The song’s glimmering guitar lightly decorates the song and while most of the popularity came after the great video, the song’s ending is even far crueler. Love is a bitter minefield and after meeting up with her sister, he notices that she is alone. Very poignantly, very pointedly, it all ends somewhat positive for both: “She was close, well you couldn't get much closer…she said ‘I'm really not supposed to, but yes, you can call me anything you want.’” Twisted and deranged, for sure. – Bryan

Wild Beasts – Two Dancers

I don’t know about you but time can pass us by and life can pass us by but music, well, music always seems to hold on strong. Part of me wishes I could be immersed into music all the time and part of me realizes that while that’s somewhat possible, I’m not nearly quite there yet. Still, it feels as if life is moving at such a fast pace recently that while it’s whizzing by me, the music that springs up from different corners is still incredibly great to find. The band Wild Beasts is an English-based band that has now crafted three seriously good albums. Their latest is a lighter, softer affair but their previous album, Two Dancers, was one that really stood out for me and continues to do so. And although this is during a time where so much other new 2011 music is still coming out, it’s just more proof that music is an evergoing process that never ceases – fortunately.

PLUS, I found these two awesome videos of the band performing the songs in a cool studio version live and yeah, they’re super cool.

The melodies on this album are simply something to fully take in. “The Fun Powder Plot” sets the mood with an atmospheric blend of synths before the guiding guitar creeps in. More and more layers of instruments are added to the fold before everything is left shining, sparkling around the guitar that blends in between the cracks of the music. It’s like the shimmering entity to an all-around soaring song and a stunning introduction to the album’s massive lull. Now once you get to the singer’s voice and his gentle, playful and interesting lyrics about a “booty call” and about being “left dumbfound as a donkey,” you’re either going to be entirely sucked in or left, somewhat awry. The music delves further into an immersing cage of sounds that continue to fuse with intellectual shifts and modifications: the melodies, always, driving through every new twist and direction.


After the suite of songs that are the double-bill for the album’s title comes “This is our Lot” and another attentively shimmering slice of life. Part of me wants to mention the second or even third song off the album here but it’s outstanding to find such amazing value at the end of the album. Melodies, again was the point of everything and believe me, Wild Beasts are the kind of band that are well aware of crafting flourishing melodies. Here they meld a glittered guitar part again but with the rhythmic pounding of thriving drums and the song eventually descends with a dynamic ending. An older album that I was completely dubious of two years ago, better late than never I suppose. – Bryan

Stone Rollin & The Way I See It: Part 2 in the Evolution of Raphael Saadiq

So we left off in 2002 with Saadiq's first solo album "Instant Vintage", a great example of neo-soul present at the turn of the millennium. His next album, "Ray Ray" released in 2004 was slightly more funk oriented and slightly more radio friendly but still didn't get him much recognition beyond the R&B charts. However in 2008, Saadiq returned with an album that sounded completely different. Returning to the roots of R&B, Saadiq created an album with the classic Motown sound. Entitled "The way I see It", Saadiq began to to get more credit for his originality and even saw him landing spots on the summer festival circuit. Any time I play the album for first time listeners I ask them to guess when the songs were recorded. If it weren't for the high fidelity 9 out of 10 listeners would say late 60's. Everything from the style of the songs to the equipment used in recording beckon back to the early days of rythm and soul.

Here is a track that sounds equal parts Earth, Wind and Fire and The Shirelles all stirred up in the Big Easy. Featuring The Infamous Young Spodie & the Rebirth Brass Band, here the song aptly entitled "The Big Easy".

Somebody tell me, what's goin wrong
I ain't seen my baby in far too long
Somebody pleeease tell me what's goin wrong
They say them ladies broke and my babys gone
(listen) Its been a couple of days and a real dark night
I miss my only child, I ain't seen her since that night
She left home about eight, and never to return
Our bodies floatin, flowin through that River"

Another favorite track that shows Saadiqs doo wop side is an up beat little tune finding Saadiq lamenting about the fear when entering a new love affair. Entitled, "Sure Hope You Mean it", here Saadiq performs live on the Jools Holland Show.

"do you mean what you say when you say that you love me
with all honesty i think i love you
it's every day i think about how special this could be
and how your love is everything to me
in my mind i can see no one but you
like in my dreams i know i'm holding you
so now tell me truth cause i need to know
see i wanna take control but you gotta let me know
don't fool me baby"

Finally this brings us to his latest effort, "Stone Rollin". Now many might say that the classic soul and R&B thing revived over the recent years is just a fad or a bandwagon artists have been jumping on, but from acts like Sharon Jones and The Dapkings to Adele, and of course Raphael and this lates effort, its simply not true. Soul, the way it was created, will be here for plenty years to come. Saadiq's and others latest efforts are a sure testement of this ideal. Where "The Way I see It", ventures back in time to a Motown era of poppy ballads and doo wop sing a longs, "Stone Rollin" explores the grittier more electrified aspect of classic soul and R&B. Where the Motown sound was clean around the edges, Saadiq takes sharp turn into Soulsville USA with a bluesier lo-fi sound Stax Records was known for.
Right out the gate the opener sounds more Chuck Berry than Smoke Robinson, but Saadiq undeniably makes "Heart Attack" his own.

"You giving me a heart attack
Girl I want you back
I just cant stand it no more
You giving me a heart attack
Girl I want you back
My heart cant take it no more"

Here's the title track from the Album and though it sounds semi familiar from "The Way I See It" territory, 5 seconds in the harmonica gives it an edge absent and the previous album.

"Fat lady shakin, backbone breakin (come on)
(This girl of mine)
Everything she's got is movin and hot (come on)
(This girl of mine)
I was just a friend but she took me in said (come on)
(This girl of mine)
Everything was right I felt like the light said (come on)
(This girl of mine)"

The last song I'll leave you with has a plush arrangement of stings and sounds like It could've possibly been produced by Stax's own Black Moses..Maybe that's just my ear, but here is "Good Man".

Long Live Soul Music-Nick

The Evolution of Raphael Saadiq

There are few artist that truly embrace change through out there career. Most find that one little niche in the music scene that they do well and hole p for most of their careers. Then there are others that either intentionally or not, change the game multiple times in their career, album to album evolving their sound and shredding through styles in the process. Raphael Saadiq is an artist from the latter school of thought. Here is a small taste of what I speak of...

From his endeavors into boy band R&B fame with Tony! Toni! Toné! here's a early 90's classic that every real mack should bust out for his special lady once a year!


He finally branched out on his solo career in the late 90's releasing some albums at the hay day of the neo soul era. Durring this time he was working with the Soulquarins, an affiliation of artistsand producers like The Roots, Dilla, D'Angelo, Erykah Badu and others. Needless to say almost 10 years later success was coming, but the sound was quiet different.
From the 2002 release "Instant Vintage"

Faithful



"To get respect
I know I have to show respect
Thats why Im by your side goin nowhere
Now that Im with you
Every girl wants a piece of my mind and soul
Cant have it"

Body Parts

Parts

"It's been a long time
We haven't Kissed each other
No one can interrupt us.
Now you can walk slow,
I wanna watch ya baby
Everything that ya show"

to be continued
-nick