Songs That Touch My Soul, Twelve

Posted on May 18, 2010 by

Article first published as Songs That Touch My Soul, Twelve on Blogcritics.

We all have them, songs that seem to speak right to that secret place in your soul – sometimes secret even from you. They flow into you, through you, whirling, swirling around until they completely surround a tiny spot deep down inside of you. And then they never leave. They can grow and occasionally fester in you like an open wound, or they can heal you, fill you up and inspire you.

Many times they don’t even reflect your normal musical tastes. They can be shameful secrets that you keep from family and friends, sneaking listens when no one is home or when you’re alone in your car. You feel like a drug addict craving your next fix. Thank jebus for MP3 players, the syringe of those suffering with this affliction.

With Spring in the air my desire for romance, love and passionate sex has awoken from its long winter's sleep and has yet again captured my focus. And so this 12th edition of Songs That Touch My Soul is awash with romantic sentiment, passionate desire and, as always, a bit of playful naughtiness.

Colbie Caillat"You Got Me" – Colbie Caillat

I love Colbie Caillat's beach-babe-with-a-soul musical style, just sweetly honest, upbeat, easy-natured beach-pop. Jack Johnson without the herb-infused, surfer dude pretense. Fresh, open and relaxing, like a cool breeze blowing over warm sand. This song has all of that plus felicitous, blithe, playfully-coquettish lyrics. She perfectly captures that twitterpated feeling of new love, that giggly, shy, winsome 17-again feeling.

“You're stuck on me and my laughing eyes/ I can't pretend though I try to hide – I like you/ I like you. I think I felt my heart skip a beat, I'm standing here and I can hardly breathe – you got me… The way you take my hand is just so sweet/ And that crooked smile of yours, it knocks me off my feet…”

"Took So Long" – The Ruse

This final track from The Ruse's new album, Love Sex Confusion, is sweetly romantic but still filled with a passionate longing. Add to that frontman John Dauer's smoky, sensual vocals and it's as if the Amazon and the Nile decided to join forces and move into my knickers. It's a love a song filled with carnal desire, passionate adoration and melancholy life-weariness. Bittersweet, bleak, fervid, and hauntingly beautiful.

Plan B/Strickland BanksThe Defamation of Strickland Banks – Plan B

I absolutely love this album and can't help but tout it to anyone who will pause long enough to listen. Whenever I read anything about Plan B it always includes the phrase “an East London raconteur.” This is undoubtedly because his body of work reflects the very essence of the word. The Defamation of Strickland Banks is the work of a truly skilled raconteur. A concept album that lyrically tells the purely fictitious first-person tale of Strickland Banks, a Dean Martin-styled British soul singer who seems to hearken back to all that was cool about the Rat Pack.

Plan B was known as a rather explicitly violent rapper, whose last album dealt mostly in gangbanging (doesn't mean what it used too, mores the pity), psychopaths, and junkies. Then TDSB came along. It's a surprise that such a hard-edged character – and perhaps that's all it ever was – had this soul singer trapped inside of him. And as it turns out a soul singer of tremendous talent, vision and style. It isn't everyone who could, or would, mix soul-funk and Latin sounds with fast-paced rap, performing both with sublime, flawless perfection.

"Crash And Burn" – Lifehouse

I know why I like Lifehouse. It's because their creamy, smooth pop-rock melodies and sensual throaty vocals are safe and fun and easy to listen to. I admit it's not a challenging listen, that you just sit back and get carried away in blissful pop-rock mellifluence. What's wrong with that? They are an excellent example of the post-grunge, power-balled band and I adore them. "Crash And Burn" exemplifies their rich, buttery goodness, and is currently my favorite track from their new album, Smoke And Mirrors – well new as in released in late October 2009 and apparently "Crash And Burn" is only available on the deluxe edition of the album.

Jace Everett"Bad Things" – Jace Everett

Everything about this song makes my panties moist. The soft, sultry rhythms of steel guitar and bass, the swelteringly sexy, gravelly baritone, the sinfully delicious lyrics, and the dirty blues-Americana atmosphere all make me quiver. I love to listen to this song when I'm alone and I can close my eyes and imagine doing a very lascivious naked Texas Two-Step with a very hot man. And in my ear he keeps whispering those flatteringly carnal lyrics… “When you came in the air went out. And every shadow filled up with doubt. I don't know who you think you are, but before the night is through, I wanna do bad things with you.”

Posted in Music, Personal, Reviews, Sex, Songs that touch my soul | Tagged , , , , , , , , , , , , , | Leave a comment

Love Sex Confusion

Posted on May 18, 2010 by

Article first published as Music Review: The Ruse – Love Sex Confusion, on Blogcritics.

On British television there is a commercial for a new yoghurt called Perle de Lait; in the commercial a woman makes a tastes-sour, unhappy, before face when eating yoghurt, however once she has tried the perfectly creamy, silky smooth Perle de Lait yoghurt she has a warm, happy, glowing after face, very similar to a post-orgasm face –BTW it's actually fabulous yoghurt.
The Ruse

And that's what The Ruse's newest album Love Sex Confusion is. The musical equivalent of afterglow; the after Perle de Lait face. It's a perfect example of their rich, creamy, silky smooth blend of pop-rock melodies and throaty, post-grunge vocals. The kind of luscious sounds that makes you feel relaxed and quivery.

Love Sex Confusion begins with the albums first single “Can't Stop”, the strongest track on the album, but not by much. With a rhythmic-pounding bass line, catchy riff and frontman John Dauer's powerful, husky, overtly sensual vocals. Next is “Sweetness” another punchy, riff-driven concoction with buttery, caramel vocals.

On “Glitter Not Gold”, in addition to the normal monumental scope of the Ruse's sound, there is the fantastically catchy chorus “You know and I know/ If you go then I go where you go”. You'll find yourself singing those lyrics throughout the day. Make sure you also pay attention to “Dance On Your Grave” more riffy, punchy goodness and promises to dance on your grave because, according to Dauer “the dead can't talk”.

It's difficult to pick any one stand-out track from such a strong album, but my favourite song by far is the coolest – and by cool I mean mellow – track on Love Sex Confusion. “Took So Long” is a lullaby of a love song. Acoustic guitar, powerful melancholy vocals and chilled bass lines all add to the heartbreaking quality of this song. Dauer's vocals are achingly sweet when he nearly weeps the opening lyrics “These eyes have seen enough/ To know when it’s time to stop /And these hands can’t hold you up /They’re much too old , they’re much too rough”.

The Ruse is one of those once in a lifetime bands. When you are writer and/or lover of music, once in your lifetime, if you're lucky, you will stumble across a band early in their career who you know are destined for greatness; and The Ruse are such a band.

If you want to get in on the ground floor – so you can say you liked them when – then you want to hear Love Sex Confusion. You can download it from Amazon or their website or on their MySpace space.

 

 

Posted in Music, Reviews | Tagged , , , , , , | Leave a comment

My Favourite Albums of 2009

Posted on January 14, 2010 by

At this time of year everyone writes their Top Ten albums of the year, and I usually do the same. However it has often occurred to me that my most listened to album of the year was sometimes NOT an album that made my top albums of the year article. I decided this year I would just share those albums I actually listened to most. My list is an eclectic collection of music genres and artists, and some weren't even released in 2009. Also I decided not to limit myself to 10 but instead decided to share all 11 of my favourite albums. Why 11, you may ask? And I would answer, why not 11?

There were a few I decided not to mention in detail, mostly because I couldn't put into words, or didn't want to, why I loved the albums so much (Moby's Wait For Me, Marilyn Manson's The High End of Low) or they were just too old to mention (Evanescence's The Open Door, A Fine Frenzy's One Cell In The Sea). I also want to add that these albums are in no particular order. It is really all about my mood, the weather, and what I'm doing while listening, i.e. driving, writing, cleaning the house, exercising, having sex… you know the sort of thing.

Kings of Leon

Kings Of Leon – Only By the Night

I love this album. Actually I adore this album. This is the album that transitioned Kings Of Leon to a stadium band. Only by the Night's classic rock with a prog rock twist sound is so retro it's cool… again. It seems to be loved much more in the UK, by both the media and the general public, than in the band's native USA – although that's probably because Americans are so used to homogenised, committee-chosen music they don't understand cutting edge retro when they hear it (I knew X-Factor and American Idol would ruin you Yanks).

There isn't a moment on this album that doesn't make my toes curl with delight. It is pure rock 'n' roll magic beginning to end. I would just say however, for health and safety's sake, that if your sex is on fire, you should most certainly see a doctor.

 

Everlast – Love, War and the Ghost of Whitey Ford

Possibly best known for his days as frontman of hip-hop group House Of Pain, or his participation in hip-hop supergroup La Coka Nostra, but that is only a small part of the musical map of this tremendously talented singer-songwriter and musician. Although the hip-hop attitude and even a bit of the hip-hop sound resounds through parts of Love, War and the Ghost of Whitey Ford, you'll hear more blues rock and even some Americana. It's a truly American sound, hip-hop styled productions, blues rock guitar and vocals all shaded with Americana guitar.

As scary as all that may sound, Everlast really makes it work for him and for Love, War and the Ghost of Whitey Ford. Make sure you pay attention to “Folsom Prison Blues”, “Die in Yer Arms”, “Stay”, “Dirty”, and “Saving Grace”. If you are unfamiliar with Everlast's blues music you may also want to try Whitey Ford Sings The Blues and White Trash Beautiful, but definitely don't let Love, War and the Ghost of Whitey Ford pass you by.

Paloma FaithPaloma Faith – Do You Want the Truth or Something Beautiful?

This year seems to have been the year of retro jazz music, a la Amy Winehouse, and Paloma Faith is easily one of the best of that pack – second only to Imelda May, mentioned later. Her debut Do You Want the Truth or Something Beautiful? was released this year and has already spawned the hit songs "Stone Cold Sober" and "New York", but no doubt there are many more to come. Although her sound is reminiscent of Winehouse, it most certainly is not the same, not by any stretch of the imagination. There is far less of Winehouse's heart-of-darkness melancholia, cynicism, and drug dependency, and more freshness, whimsy, and more general poptasticness.

Lily AllenLily Allen – It's Not Me, It's You

I was not a fan of Allen's début album, the ska and reggae influenced Alright, Still. Written when she was just 17 or 18 it is a product of the angry, immature, privileged rich girl she was (her father is the legendary Welsh actor and comedian Keith Allen), and her début expressed all that acrimoniousness. However It's Not Me, It's You is a completely different direction for Allen, musically, lyrically, and personally.

Gone are the ska and reggae twangs, to be replaced by very danceable, catchy, electro-pop sounds. Allen has also shed the childishness; that chip on her shoulder is directed in a more mature direction, i.e. war/political figures (“Fuck You”), vacuous society wannabes (“The Fear”), bad boyfriends (“Not Fair”, “Never Gonna Happen”, “I Could Say”), and even her own past behaviour (“Back to the Start”). In the track “I Could Say” Allen sings, “Since you've gone I've lost a chip on my shoulder, since you've gone I feel like I've gotten older,” and this sentiment is obvious throughout this intelligent, witty, sarcastic, touching, sometimes even heartwarming album.

 

 David Guetta – One Love

David Guetta is a French house DJ and his album reflects this heavily, but with guest vocalists like the Black Eyed Peas (“I Got A Feeling”), Akon (“Sexy Bitch”), Kelly Rowland (“When Love Takes Over”, “It's the Way You Love Me”, and “Choose” with Ne-Yo), and Will.i.am (“I Wanna Go Crazy”), you definitely feel the R&B/hip-hop influence. Euro elctro-dance, AKA house music, mixed with R&B and hip-hop seems to be the new trend in music in the UK and no one does it as well as David Guetta has with One Love.

Madeleine PeyrouxMadeleine Peyroux – Bare Bones

In this forth release from Peyroux she has written all the songs herself. Usually her albums include a fair number of French jazz classics, but not on Bare Bones. Peyroux is as well known for her smooth romantic sound – she has been referred to as a 21st century Billie Holiday – as for her personal eccentricities. After the release of her début album Dreamland in 1996 (four years before Norah Jones's début) Peryoux decided to take some time off and spent six years busking in Paris, and she did a similar runner just before the release of her third album.

But it seems to work for her and her sound. Bare Bones is easily her best release so far, maintaining that retro-French-jazz sound while also somehow feeling fresh, young and new. With all original music and lyrics Bare Bones also shows that Peyroux is capable of doing much more than just recreating someone else's success. Hardly a day has passed since it was released in March, that I haven't given it a listened.

Melody GardotMelody Gardot – My One and Only Thrill

I admit that I hadn't heard of Gardot until after hearing her second studio album My One and Only Thrill. In the same vein as Madeleine Peyroux, but with less French influence and instead with subtle elements of Brazilian and samba music. I fell in love with her smooth romantic voice, her dark piano jazz sound, and her playful way with lyrics on the first listen. If you haven't heard of Gardot, or listened to her two albums Worrisome Heart and My One and Only Thrill you need to hear these now.

Jace EverettJace Everett – Red Revelations

You probably know his song “Bad Things”, which was chosen as the theme song for the HBO vamp-xplotation TV series True Blood, but Everett is capable of so much more than just the lyrical sexualisation of vampires. Although he seems to have been categorised as a country singer, his new album Red Revelations is more Americana/blues rock. Everett has a smooth, deeply textured, intense voice that seems to drip with dirty sexual desire and sheer naughtiness, particularly when mixed with these funky country-esque guitar riffs and blues basslines.

And that vampiric theme song “Bad Things” is just too sexy for words, but I think the lyrics speak for themselves. “When you came in the air went out/ And every shadow filled up with doubt/ I don't know who you think you are/ But before the night is through/ I wanna do bad things with you.” Those lyrics mixed with the slow-burning sexual tension in his voice and the hot, sweaty music to match certainly illicit a strong carnal response in me.

Imelda May Love TattooImelda May – Love Tattoo

If Paloma Faith is the face/sound of modern poptastic retro-jazz, then Imelda May is the real thing. Modern but retro, pop without bubblegum, honest-to-god vocals to die for. A little bit big swing band style jazz, a little blues, a lot rockabilly, this Irish songstress is equal measures of style and substance. One moment she will have a belter of a track, all power and epic vocals and that big band rockabilly sound (“Feel Me”, “Love Tattoo” and my personal favourite “Smokers Song”); the next moment May is all silky-smooth, romantic vocals with more beatnik jazz and tinkly piano sounds (“Knock 123”, “Meet You At The Moon”, and “Falling In Love With You Again”) to fall in love to. Give Imelda May and Love Tattoo one good listen and her eclectic charms will soon have you under their power too.

The Saturday's Chasing LightsThe Saturdays – Chasing Lights

Okay, yes, I admit that The Saturdays are nothing more than a manufactured, chart-ready girl group, but sometimes that's not a bad thing – and to support this assertion I would offer the following as evidence: Martha and the Vandellas, The Supremes, and the Sugababes. The Saturdays have that extra, nearly indefinable something. I know it has something to do with their sound – electro-pop and dance-pop – and their interesting mix of voices without the overly produced feel, and over sexualised look, of girl groups like Girls Aloud – who I hate with the heat and intensity of a million burning stars – and Pussycat Dolls.

Chasing Lights is more straightforward both lyrically and musically than Girls Aloud, and ALL the girls can actually hold a tune, unlike PCD, and it's a consistently good album from beginning to end. I would certainly consider this a strong contender for pop album of the year. Most impressive is that they have only been a band for less than a year now and yet have no trouble competing easily with other UK girl groups who have had much more time to develop. The Saturdays' future looks bright.

Gossip Music For MenGossip – Music For Men

I know that Gossip aren't that popular with my American brethren, generally speaking, but I have always assumed that was because the rednecks/white trash can't forgive frontwoman Beth Ditto for being a fat lesbian. People who think that when a woman fronts a band she is meant to be a vacuous, vapid, over-sexualised shell of a person with big tits and a tight arse. Just ask Disney. So Gossip don't fall into any recognisable category and that's one of the reasons I really like them. I like a band, and a woman, who isn't afraid to be unapologetically who they are – that's a rare quality in our fame-obsessed society. And we have a lot to thank Gossip for — they are almost single-handedly responsible for putting post-punk, dance punk, and blues punk on the musical map.

Music For Men is Gossip's fourth studio album and it's as good as the albums before it. Gossip's sound is a strange, wonderful mixture of electro, gospel, soul, garage rock, punk, dance, and electro. A little bit The Birthday Party with shades of Siouxsie & the Banshees and Le Tigre, with a sprinkling of Scissor Sisters, but mostly it's just all Gossip which means loads of originality, passion and attitude. What's not to like? 

Posted in Music, Personal, Reviews | Leave a comment

A Fine Frenzy – Bomb In A Birdcage

Posted on September 7, 2009 by

PhotobucketOnce upon a time I had a special friend named Tate. Tate and I shared many pleasures, music being one of the most enduring and enlightening. His taste in music was a most eclectic mix of everything from bubblegum-pop to existentialist jazz, and he loved sharing it all with me. It was Tate who originally introduced me to A Fine Frenzy, and although my relationship with Tate was all too fleeting, my relationship, my adoration of A Fine Frenzy has never diminished. (A Fine Frenzy is the professional moniker of the very talented Alison Sudol and not actually an entire band.)

Her début album, One Cell In The Sea, was my top Album of the Year for 2007 and I even occasionally mention her songs in my Songs That Touch My Soul series. One Cell has become an integral component in the soundtrack of my life over the past three years. And while I have waited patiently for her to release a follow-up album, I never wearied of One Cell, so entirely enchanted have I been.

I even shared my passion with a select few, including BC’s own illustrious and oh-so-discerning co-under-assistant music editor Josh Hathaway, thereby spreading my mania. And now, finally, A Fine Frenzy is releasing a sophomore album, Bomb In A Birdcage. After so much patient pining, the question was always going to be, “Would I love the second album as much as the first?” The not-so-simple answer is yes and no.

One Cell is both fresh and nostalgic. An atmospheric album with alt-folk sensibilities. A magnificent alternative singer-songwriter concoction replete with haunting melodies, nearly nude piano, with very little competing instrumentation, and raw, vulnerable lyrics. Captivating, hypnotic, lush, but still accessible to those of a mainstream musical ear.

Bomb In A Birdcage is closer to mainstream pop, with less of the singer-songwriter feel and more synthy sounds and bouncier beats. A Fine Frenzy’s second album isn’t a huge change of direction but more an evolution of sound. More textures, bigger sounds, more diverse instrumentation but still lush, bewitching and atmospheric – just that it’s a different atmosphere.

It begins with the happy-clapping “What I Wouldn’t Do”. This felicitous track has a indefinable quality best described as tropical-island-feel about it, complete with whistling and the lyric from which the album derives its name. “It was now and we were both in the same place/ didn’t know how to say the words/ With my heart ticking like a bomb in a birdcage/ I left before someone got hurt”. The jaunty exuberance will quickly have you whistling along, and it sets the tone of this more blithe sounding album.

“Electric Twist” is another intoxicating and delightful track, and the first Frenzy song with electric guitar. Quiet a shock to the system if you’re used to her usual acoustic sound. However it is a great track and the electric sounds aren’t overwhelming, and it still manages to hold on to the singer-songwriter sensibilities. It leads into the album’s first single “Blow Away” another electric guitar infused, synthy rapturous song.

Other songs of note include “Elements” and “Bird of the Summer” both are reminiscent of her first album. Warm, rich, languishing music accompanied by smooth, gauzy vocals of the alt.singer-songwriter variety. “Stood Up”, my favorite song on the album, a prog-rock-esque track that is embellished with lush, echoy guitar, mellifluous tinkly synth and ethereal-rock vocals.

I would strongly recommend this album to anyone, whether you are a current fan or new to A Fine Frenzy. If you loved One Cell you get to see a young talent who is yet to reach her pinnacle, and is just beginning to spread her artistic wings. Let it grow on you and you’ll love Bomb In A Birdcage as much as One Cell, I promise. And if you’re new to the incorporeal love of A Fine Frenzy then Bomb In A Birdcage is a good place to start your love affair.

If you would like to listen to A Fine Frenzy, or just find out more about her you can visit her MySpace space or her website. Bomb In A Birdcage is available from September 8, 2009.

Posted in Music, Reviews | Tagged , , , , , | 3 Comments

Green River Ordinance – Out of My Hands

Posted on June 18, 2009 by

PhotobucketGreen River Ordinance (GRO) is a band that I have been championing since I first met and interviewed frontman Josh Jenkins back in 2006. I said then “Every once in a while you come across a band so great, so talented, that you stand back a little, shake your head, and mutter in awe, ‘Fuck me, they’re fabulous!’ Fort Worth, Texas-based Green River Ordinance (GRO) are such band.” I have never wavered in this belief… which is saying a lot for me.

Now three years after that initial exposure they have landed a multi-album contract with Capital/Virgin records, and released their first major-label album, Out of My Hands. Signed they maybe, but they have lost none of their power-pop goodness.

GRO have an indie-rock/power-pop sound that will remind you of Third Eye Blind, Goo Goo Dolls, or Matchbox Twenty but with a twist of roots rock. Their passionate, emotional lyrics are a little bit country, a little bit pop, a little bit rock-&-roll. GRO’s sound is altogether intense and dynamic, sumptuously layered, and rich in warm melodies, harmonies, and rhythms. Their every lyric, melody, harmony, and vocal seem to speak to you with sincerity, honesty and a raw passion.

Josh Jenkins’ vocals feel as natural as well toiled earth, with a charismatic yet sensual playfulness, easily connecting with every word, every emotion, every moment of a song, and seem to hint to a deeper, hidden meaning. One thing that GRO do better than nearly any other band I have encountered is to work together, without ego, without self, but working as one, all perfectly complementing each other. Guitar, bass, and drum are all perfectly judged and played to create GRO’s fabulous brand of jangly-guitar-power-pop/indie rock.

Although the band have recycled two tracks from a previous independent release, “Come On”, and “Sleep It Off”, the rest of the 11 tracks on Out of My Hands are brand new. All tracks stick to GRO’s signature sound, making this album an easily accessible romp for die-hard fans, and newbies alike.

There are several stand-out tracks on this already impressive album. First track “Outside” is a catchy upbeat number with shamelessly catchy riffs and lyrics. “On Your Own” is a piano filled track that chills the album out with more piano than jangly guitar and makes for a nice change of pace. And of course Jenkins heart-warming lyrics always leave you feeling a little misty eyed; he even manges to make you feel nostalgic for L.A. In another stand-out track “Goodbye, L.A.”. It takes true talent to make you feel longing for a place like L.A. without it feeling surypy or overplayed.

And easily my favourite track on Out of My Hands is the final one, “Endlessly”. No one can write a love song like Josh Jenkins and company. Maybe it’s their stripped back honesty, their hat-in-hand way of saying I love you, that little bit of a cowboy humility as he tries to express a passionate love he only just dares to admit to himself. It’s charming and touching and perfectly done.

Out of My Hands is a fun, accessible, filled with tracks that are easy to listen to or sing-along to. Each track is shamelessly catchy and perfectly executed, but without feeling over produced or unnatural. All that said, I also want to add that now that GRO have this first major-label release under their belts, I would really like to hear them push their sound to the next level. I honestly believe that GRO are the next legend-band in the making and I’m excited to hear where they take their sound next.

You can check-out GRO on their MySpace space, their own website, or you can even follow them on twitter nowadays. Their albums can be picked up at Amazon or of course at iTunes.

Posted in Music, Reviews | Tagged , , , , , , , | Leave a comment

Top Ten Albums of 2008

Posted on January 23, 2009 by

Yet another year has passed and it’s time to name the top ten best albums of 2008. You will have heard of a few but may not have heard of others. If you’re looking to be exposed to new music, expand your musical horizons or you're just bored check out these albums online.

Honourable mention – Derek Webb and Sandra McCracken – Ampersand EPDerek Webb & Sandra McCracken

As I have written previously I am NOT a fan of Christian music because Christian rock has no redeeming artistic or social value, in that it neither inspires people to worship nor to appreciate great music. The restrictions placed on Christian musicians by both the Christian record labels and existing fan base, crush out all true artistic growth, every spark of originality or individualism — as if being original or different wereun-Christian or sinful. That said, just because someone celebrates their love of a mythological being (God in this instance) by making artistically barren music doesn't necessarily mean they don't have talent, artistic vision or originality. In the case of singer-songwriter Derek Webb – most famous as part of the Christian band Caedmon’s Call – and his equally talented and successful wife Sandra McCracken, that is certainly untrue, as evidenced by the release of their debut duet EP, Ampersand.

This is the first collaboration from these two deeply personal performers and a true joy to hear. Webb and McCracken's voices perfectly complement each other, harmonising playfully, dancing together in joyous vocal foreplay. McCracken's voice is a mixture of Emmylou Harris and Shawn Colvin, rootsy, warbling, and gently, elegantly loving. And Webb's voice is a mixture of buttery smoothness and raw passion, like a good spicy whisky. And the same can be said of their musical styles; McCracken is a bit alt-folk, with country tinges and Webb, alt-country with rock colour. This collaboration sees the best that both these talented artists have to offer, what it doesn't offer are references to religion or Christianity – thank jebus.

The Ruse10. The Ruse – Midnight in the City

One of my favourite former Band of the Week bands, The Ruse have finally released their newest masterpiece, Midnight in the City. Filled with stunning creamy, rich, Celtic-flavoured soundscapes and dreamy, warm, sensual vocals, Midnight in the City has earned this place on my top ten list. The Ruse's signature sound is reminiscent of Snow Patrol playing U2 songs with Travis arranging the music. Fabulously Brit-rock sound is surprisingly coming from an L.A. band, but it is such a melodic, cultivated sound you'll hardly care. That said, with Midnight in the City you can hear The Ruse beginning to push their sound to a new level. In fact I am willing to admit that the only reason the that Midnight in the City isn't higher in my countdown is simply because I would like to see this band push their sound a bit further, to develop their impressive talents to new levels. The Ruse are a band who's talent, vision and drive are the stuff of legends and I have no doubt that one day these guys will be rock gods.

Pink9. Pink – Funhouse

Funhouse is Pink's break-up album and it shows. This is the first album from Pink in which you can feel real emotion. Her obvious heartbreak is evident in many of the songs like "Sober", "I Don't Believe You", and "Please Don't Leave Me" all of which drip with slightly melodramatic melancholia. But with other songs like the mega-hit "So What", "Bad Influence", and "Funhouse", all much more energetic, you feel Pink flipping her finger at love, marriage and her ex, Carey Hart. It's written all over Funhouse in the up-beat pop-rock tracks and the emotionally bereft, pain filled ballads, it's clear that Pink means every word and sentiment, and feels every ache, every bruise, keenly. But she is Pink, she'll recover and she knows it, it shows.

The Dollyrots
8. The Dollyrots – Because I’m Awesome

The Dollyrots are better classed as hard-core, non-conformist, progressive pop with a strong undercurrent of punk, rather than the pop-punk label they have had thrust upon them. Their debut album Because I’m Awesome is a strong, offbeat, aggressive but friendly album that will inspire you to jump around with your fist in the air singing at the top of your lungs. Definitely a must hear album.

Jem7. Jem – Down To Earth

This Welsh singer-songwriter's works are easy enough to recognise, if you watch much useless television-porn like The O.C., Desperate Housewives, or Grey's Anatomy. However I would be willing to bet you had never heard of her. But now is your chance. Jem weaves beautiful music from the nether region between electro-pop artists like Imogen Heap, musical mavericks like Björk, and whinny, whispering neurotics like Dido. Using elements of soul, electronica, pop, latin, and dance she creates atmospheric electro-pop, that flows together like any great symphony, and yet each song easily stands out on it's own merits. Down To Earth is Jem's second outing and really a must hear album.

Paddy Casey6. Paddy Casey – Addicted to Company

Paddy Casey is among Irish musical royalty. With two previous, multi-platinum selling (in Ireland) albums released he may just be Ireland's best kept secret. Casey's primary strength is his Dylan-esque songwriting style with an Elton John-esque musical flourish. Casey mixes folk, pop and blue-eyed soul for a unique, but completely accessible sound that feels both fresh and comfortable, worn-in and, crisp & clean; the freshly laundered fluffy robe of the musical world. Addicted to Company is Casey's third attempt at breaking the UK and US markets, and a more worthy attempt there never was. You'd miss a lot if you missed this impressive, fun, energetic Irish newcomer.

Photobucket5. Girl In A Coma – Both Before I’m Gone

This American all-girl pop-punk band was discovered by Joan Jett who signed them immediately to her Black Heart record label. Girl In A Coma’s (GIAC) upbeat brand of pop-punk is coloured with the sepia toned smoothness of The Smiths (from where their name originated) and Morrissey but with a strong twist of 50’s rockabilly. GIAC’s debut album Both Before I’m Gone is free of the added saccharine, totally lacking the committee input and marketing-friendly formula that is so evident in most mainstream music. Both Before I’m Gone is pure honest music and talent all wrapped up in an energetic, rocking, retro-swish album that is a completely accessible and a guilt free listen.

The Ting Tings4. The Ting Tings – We Started Nothing

It's been a long time since someone actually took pop in new direction. The Ting Tings debut album We Started Nothing is enough to make any jaded audiophile throw a party, and luckily this is the perfect album for a party. And why would they be celebrating? Well it might be the fact that a major label like Columbia is finally willing to underwrite real, non-committee chosen music, made by real musicians who aren't pretty, straight teethed, blond, American-dream wannabes, but instead by real artists who, write their own lyrics and music, who have talent and artistic vision. And also because, maybe just maybe, the world of mainstream music can finally breath in a huge lung full of fresh air. This DJ inspired alt-pop duo make music that is both edgy and playful. It will take your hand and lead you to a place that may make you feel a little uncomfortable at first, but once you've spent some time there it will change your entire pop music perspective and you'll never be able to hang-out with Britney,Beyonce , or Christina again. If you haven't heard of The Ting Tings, then you're already two steps behind. Time to catch-up and get yourself a copy of one of the best albums of the year!

The Script3. The Script – Script

Dublin based The Script is certainly the next mega-band-on-the-block and their self-titled debut album proves that. Bristling with melodious high-pop rock tunes, The Script is occasionally reminiscent of early The Police, U2 and even Van Morrison but still maintains an independent music feel and distinct sound that is all their own. It’s almost hard to believe that RCA would sign such a band, running over with obvious originality and intelligent, compelling lyrics. This beautifully crafted album is one that many will love and others will hate much like Maroon 5’s debut Songs About Jane, and look where they ended up.

The Bittersweets2. The Bittersweets – Goodbye, San Francisco

The Bittersweets are the vanguard of the alt-country folk-pop sound that is spreading and finding fans from across the musical genre board. The Bittersweets’ sophomore album Goodbye, San Francisco lives up to the band’s name; filled with effervescent, bittersweet, nostalgic melodies, rippling with bluesy guitar riffs, round sweet harmonies and the smooth, honeyed vocals of frontwoman Hannah Prater. The most impressive thing about the Bittersweets is their ability to create mellow, sentimental emotion that is pleasingly poignant without ever being overcooked, mawkish or syrupy. Don’t miss The Bittersweets, because you will regret it later.

Photobucket1. Snowpatrol – A Hundred Million Suns

The fifth full-length album for this Glasgow based mega-band is a departure from their usual broken-hearted fare, both lyrically and musically. No one has ever written bereft-without-you, didn’t-know-what-I-had-till-lost-you lyrics like GaryLightbody , but with A Hundred Million Suns he has turned those considerable, if dreary, talents in on themselves, writing lyrics and music that are actually upbeat. Songs that say “I love you and I’m happy in our relationship”, “WOW how fabulous is this relationship stuff” and “I’ve never loved you more than I do right now”. But it’s not just those famously teary-eyed, grief-stricken lyrics that have changed. The band have managed change their already creamy-smooth, hot-buttered sound just enough that it sounds like Snowpatrol but more upbeat, stronger, happier melodies, more acoustic guitar and less obvious riffs all add to this new Snowpatrol. The final sound is one that is recognisable, so you’re not threatened by a totally new sound, but still different enough that you can see a new direction for this well seasoned and much adored band. A Hundred Million Suns is an accomplished album with a fresh yet comfortable sound, that you will listen to it over and over again.

Posted in Music, Reviews | Tagged , , , , , , , , , , , , , , , , , , , , , | Leave a comment

How To Be Well Read – Little Women

Posted on January 20, 2009 by

Louisa May AlcottI’ve been there. I know what it’s like to try to become well read. I understand that it all seems so daunting, almost overwhelming. You can feel like you need to be well read, or at the very least highly educated, before you can even attempt to read classic literature. But you don’t. It’s easier than you think. So where should you begin? This series is here to help you, to walk you through the veritable minefield that is classic literature.

Why should you choose to read classic literature? Classic literature is the best of the best from a bygone era. It offers a glimpse into our former social habits and customs, the foundations of our modern society and intellectual reasoning. In coming to understand those times and people, you will know our modern life better.

Louisa May Alcott was a maverick thinker, activist and writer. She fervently believed in and actively worked for women’s suffrage, the abolition of slavery and integrated schooling – boys and girls, blacks and whites educated together. She was a woman who was unafraid of the world, or of being alone in it. Famously a spinster, a fate worse than death for most women of the 1860s, Louisa May was unconcerned and even uninterested in others opinions of her unmarried status and explained it once in a interview saying “I have fallen in love with so many pretty girls and never once the least bit with any man”.

She came by these feelings and beliefs quiet naturally. The bohemian world in which she was raised was filled with forward thinkers, liberal minds and unorthodox educators; most notably her father, the philosopher, educator and influential Transcendentalist, Bronson Alcott. Bronson surrounded his young family with the people who would help to direct and shape the modern world, people like Henry David Thoreau, Ralph Waldo Emerson, Nathaniel Hawthorne and Margaret Fuller. So it may come as a surprise that she should write a book full of such strong conventional, even traditional values.

Orchard HouseLittle Women was not Alcott’s first book, but it is by far her most well known. Considered her seminal work, Little Women was originally published in two parts in 1868 and 1869, part two was titled Good Wives in the UK and Europe and still is in most cases — an important fact if you’re looking for just one book, when what you really need is both books. It revolves around the life of four sisters Meg, Jo, Beth and Amy March and is based heavily on her own life in Concord, Massachusetts in the family home Orchard House.

Alcott’s simple tale of four girls growing-up, learning to love each other and themselves, follows the group from early adolescence (Meg 16, Jo 15, Beth 13 and Amy 12) through to adulthood. Alcott’s moral message and the themes of family, god and simple pleasures can frequently feel a bit heavy handed to the point of preachy, but her charming characters, their fun and lively society and friends more than make-up for the moral battering you sometimes feel you’re receiving.

Main character Jo is the centre of this tale and obviously meant to be Alcott herself. This rambunctious, curious tomboy loves writing plays to be performed at home with her sisters for the sparse but appreciative audience of her Mother, Father and maid Hannah Mullet. These plays are a forerunner to the sensational stories she will eventually write and sell to the tabloid papers of the day, and form the cornerstone of her writer’s education.

Jo is the down to earth and sensible, but passionate, sister with sparse physical possessions and a grumpy distrust of physical beauty or societal attributes. Strong and independent, it is easy to see early feminist attitudes in the lovely Jo, although Alcott wouldn’t see that herself. Jo is all strong character with a wide stubborn streak, prickly on the outside, but tender, caring and kind on the inside. Although she tries to hide this softer side, all those who know her best help her protect this. Her sisters’ characters are all significantly different than Jo’s, which allows Alcott to teach her moral lessons. Each sister has a different strength and each suffers from a different character flaw.

Meg is the natural mother and her goals and desires mostly revolve around home, husband and children, but with a desire for material things that she will always struggle with.

Youngest sister Amy is blessed with natural grace and beauty. She is also possessed of a true artistic talent and instinctively understands and respects those little niceties of society that make her charming in company. Unlike Jo she understands the need to return social visits and be polite, holding her tongue rather than blurt out honest opinion, things Jo just can’t seem to comprehend. But Amy is vain and strutting, spoiled by her sisters and her parents, who all indulge her in her little vanities.

Middle sister Beth is painfully shy and stoic, always labouring to ease her sister’s burden. She loves with an open innocent heart and is the person Jo will try to emulate but will never quiet succeed. Although her shyness prevents her from truly experiencing the fullness of life and love, Beth’s journey is fated to end far too soon. Beth and Jo have the special bond between helpless babe and protector, with both girls alternatively being either protector or vulnerable child. Jo and Beth share the most emotionally wrenching moment in the book and in their singular moment of need they will both comfort and be comforted until the end.

Although Little Women can feel a bit preachy and Christian-centric, the basic tale is one of love, self-improvement and family and is well presented. The Marches are a strong, close, loving family with their share of trials and tribulations. Alcott’s ability to convey the young girls’ personal catastrophe of not having the right gloves or dress is entertaining and enchanting and will evoke your own personal memories of adolescent devastation upon discovering a blemish on Prom Night or spinach stuck between your teeth on a first date.

The images and ideas are unmistakably of a century long gone and a life most of us wouldn’t even recognise, offering us a glimpse of the beginnings of recognisable contemporary social attitudes and the start of the classlessness and equality that society has worked so hard to finally achieve.

Posted in Books, Reviews | Tagged , , | Leave a comment

Bands to watch in 2009

Posted on January 17, 2009 by

Independent music is a very hot topic right now on the music scene. It used to be that indie bands were really only popular within a region and with local fans, but with the internet becoming a dominant force for indie music there are now thousands of bands to choose from. Wading through all those would be a huge chore. But BC is here to help!  We've scoured our Band of the Week database to re-introduce you to bands likely to achieve huge success in 2009.  

Green River Ordinance (GRO)

GRO Having fun

With two albums under their belt this Texa-based band was one of the hottest unsigned American rock/pop groups on the college circuit. Now signed to Virgin Records this group of five truly hot young guys (Josh Jenkins, lead vocals; Jamey Ice, electric guitar; Joshua Wilkerson, electric guitar; Geoff Ice, bass and Denton Hunker, drums) are preparing to release their first major label record called Out of My Hands (release date is currently February 24th 2009). Judging by where they have been – two independent albums selling tens of thousands of copies and two sold-out national tours – it’s obvious these guys are destined for huge mainstream success. Check out GRO’s first two albums, The Beauty of Letting Go and Way Back Home at their MySpace space.

The Attic Lights

As a result of successful tours of Europe and Japan and several critically acclaimed performances including T in the Park back in 2007, this Glaswegian alt-country/alt-rock band were the object of a bidding war between major labels. After eventually signing to Island Records this genre defying band has finally released their major debut album Friday Night Lights to wide acclaim and success. It has also been announced that Attic Lights have taken on the daunting task of singing the new Minder theme song (cult-hit British comedy-drama from the 1980s, that is being remade for British television). Kevin Sherry (vocals, guitar), Colin McArdle (vocals, bass), Jamie Houston (guitar, keyboard, vocals), Tim Davidson (guitar, pedal steel) and Noel O'Donnell (drums, glockenspiel, vocals) are most often compared to Teenage Fanclub as a result of their flawless four-part harmonies but are more accurately described as Wilco-esque with pop sensibilities. Check out Attic Lights MySpace space.

The RuseThe Ruse

The Ruse’s melodic, soothing, cultivated sound will leave you in no doubt of who their influences are; U2, Coldplay, and Travis. The frontman, John Dauer has a voice like a good dram of whisky; smooth, mellow, and rich combined with his moviestar good looks you know he was born to be a heart-throb. The Ruse’s sound is so overwhelmingly Brit Rock that you will be sure they are from London, Glasgow, or even Dublin. But you’ll be surprised to find out that they are actually from New York, Atlanta, and L.A. With two fabulous, accomplished albums, numerous EPs, an appearance on MTV’s The Hills, Photobucketa stint as the house band at The Viper Room club in L.A., and much critical acclaim behind them, they have recently released a third album entitled, Midnight in the City. Until now The Ruse have just been waiting for the right offer from a major label but with this third album it is unlikely they will remain unsigned for long. Being this good now means they must, eventually, become rock gods. If you're this talented, you really have no choice in the matter. You can hear examples of their rock godliness at their MySpace space.

The Flaws

This Irish band’s sound is an updated mixture of '80s bands like The Smiths, The Cure, and Echo and the Bunnymen. Frontman and primary lyricist Paul Finn has the enviable ability to strip away the everyday mundanities of life and articulate the longing and desire for more. Strong melodies enveloped in synth, glittering, jangly guitars, Finn's rich, fervid vocals and intelligent witty lyrics make for a spellbinding experience. All of this is evident on their radiant, lush, nearly flawless – come on, I had to – debut album Achieving Vagueness released in the autumn of 2007. It was even nominated for the Irish Album of the Year 2007 by the Choice Music Prize (the Irish Mercury Prize). Currently The Flaws are working on a new album that is due out late 2009. If you’re interested, check-out The Flaws MySpace space.

Cary BrothersCary Brothers

No not The Cary Brothers, but Cary Brothers, a singer-songwriter whose music has been featured on TV and in film, most notably the television show, Scrubs and Zach Braff’s indie film, Garden State. Brothers' music is filled with quixotic, emotional themes and lush, textured soundscapes; his sumptuous voice exudes a warm sensuality, and luxurious romanticism while still maintaining strong indie-rock flavour. In 2007/2008 he released his debut full-length album Who You Are which won Best Rock Album of the Year by the Indie Acoustic Project. A remix of the album track “Ride”, remixed by Tiesto, was a huge hit this year in the clubs throughout Europe. This summer he toured Europe, including many stops in the UK, headlining the Hotel Cafe tour.

I recently chatted with Cary about what he was up to now, and what we can expect from him in the future. He was excited about recording a new album, saying, "Whereas the last record was six years of writing and studios and piecing together songs like puzzles, this is a very relaxed process. It is happening organically, but with all of the collected wisdom of the last few years of life, and being on the road. Can't wait to get the new record out…" And you can look for that early in the summer of 2009. For more information about Cary, or to hear his music you can find him at his MySpace space.

Posted in Music, News | Tagged , , , , , , , , | Leave a comment

Songs That Touch My Soul, Eleven

Posted on October 28, 2008 by

We all have them, songs that seem to touch a secret place in your soul – sometimes secret even from you. They can grow and occasionally fester like an open wound, or they can fill you up, inspire you, and occasionally even heal you. Sometimes they don't even reflect your musical tastes. They can be shameful secrets that you keep from family and friends. You feel like a drug addict craving your next fix. At times like those you thank the powers that be for MP3 players – the syringe of those suffering with this affliction.

This is the eleventh installment of songs that touch my soul and as always this edition is full of passion, desire, and lust. This is a form of therapy, this sharing of my neuroses, my secret inner lunacy, the big ball of crazy that is me. I know it's been awhile, but this edition marks the end of writers block…. I hope.

Saltire Face"Flower of Scotland" – Various

This is an ode to my adopted home country Scotland. A country that has given so much to our modern world; to quote Voltaire "We look to Scotland for all our ideas of civilization." Scotland is a country of amazing people and achievements. It is because of the Scots that we enjoy so many conveniences and necessities in life, as the Scots are the inventors of much of the modern world. Things we take for granted from, tarmac, the telephone, television, the post office, radio, and the fax machine; to things you couldn't live without like, antiseptic, anesthesia, penicillin, the MRI machine, hypodermic syringe, and beta-blockers.

It was during the Scottish Enlightenment of the 18th century, that the fathers of many of the modern sciences (geology, economics, chemistry, engineering, and medicine among many) lived, thought, and worked in the heart of Edinburgh's New Town – which they also designed and built. Men like Francis Hutcheson, David Hume, Adam Smith, Thomas Reid, Adam Ferguson, John Playfair, Joseph Black, and James Hutton are some of Scotland's greatest sons. Even the American Constitution can find most of its ideas and ideals in the philosophy of David Hume and America's economic principals (capitalism) are based on the works of Adam Smith. Quite a resume for a country that has never had a population of much more than five million people.

“Flower of Scotland” is the unofficial anthem, that talks of military victory; but really it speaks to most Scots hearts of their strength, of what they have overcome and what they have accomplished, frequently against ridiculous odds. After nine years living in Edinburgh I can attest to the unfair, sometimes neglectful treatment of the Scots by the English who usually treat Scotland like the ugly red-headed step-children; which is a problem, as we are meant to be a United Kingdom. But as devolution evolves and Scotland becomes a completely independent country again, hopefully the Scots will once again shine as innovators on the new world stage, in science, religious diversity, and social acceptance.

"Seven Years" – Norah Jones

My daughter just celebrated her 15th birthday. As I watch her grow-up, both outside and inside, I find myself more and more remembering what a sweet, perfect, happy little girl she was; and I marvel at Little girl in leaves the transformation. In such a short time she has gone from innocent, sweet, perpetually cheerful, and full of wonder to, beautiful, intelligent, sensitive, and more sensible than I have ever been (not sure where she gets that actually), and now she is nearly full grown. Every time I hear "Seven Years" I remember one particular autumn afternoon. My daughter Ysabeau (pronounced E-sa-bow) and I were raking leaves together, well I was raking she was playing in the pile. Every time I got it big enough she would jump into the middle scattering the bright red and orange leaves everywhere, and like crisp crumbs (British for potato chips — chips of course is British for French fries) the crunchy leaves were becoming smaller and smaller, and more difficult to rake, but I didn't care. Her joyous giggling ringing through the crisp air was the most beautiful thing I had ever heard, nothing will ever compare.

The simple, elegant lyrics of "Seven Years", perfectly capture every moment of that day, as if Norah had been watching us. "Spinning, laughing, dancing to her favourite song/ A little girl with nothing wrong/ Is all alone," and "Crooked little smile on her face/ Tells a tale of grace/ That's all her own". Norah's caressing, loving vocals feel like my own heart's voice singing to the memory of that long-lost little girl. Lost to time, maturity, and her own insistence that she isn't a little girl anymore. Lost but not forgotten, never forgotten.

"If You're Not The One" – Daniel Bedingfield

Yes he is a scary, freaked-out, christian boy, and for the most part his music falls into the simpering-mockish-cack (British slang meaning feces or nonsense, rubbish) category but this song touches that part of my soul that is all teenage girl. With lyrics like: "If you’re not the one then why does my soul feel glad today?/ If you’re not the one then why does my hand fit yours this way?/ If you are not mine then why does your heart return my call?" BLECH! Cringe worthy I agree, says the full-grown woman part of me, the part of me that Josh Hathaway calls FirebreathingAndrea is actually nauseated by the song; but OH… that young hopeful romantic part of my soul, wants to meet the man that will really say to me: "And I hope you are the one I share my life with/ And I wish that you could be the one I die with/ And I pray you’re the one I build my home with/ I hope I love you all my life". Just not in the same girlie falsetto voice as Bedingfield, or firebreathingAndrea will probably just kick the crap out of you.

Sexy man on motorbike"Almost Lover" – A Fine Frenzy

A Fine Frenzy (a stage name taken from Shakespeare's, A Midsummer Night's Dream — real name Alison Sudol) is one of my favourite artists. Her debut album One Cell in the Sea has been at the top of my playlist for a year now and every time I hear it, I find a new gem; however I have always identified with "Almost Lover" above all other tracks. More than just a one-that-got-away song, to me "Almost Lover" is the one-that-never-existed song. The dream-man I have been waiting for, fantasizing about, wishing for. That man I have dreamed about finding for so long; tall, dark, and handsome, with the electric blue eyes, intelligent, caring, sexy, capable of doing the laundry AND loading the dishwasher without being asked. The man who is educated, witty and urbane with a six pack and sex drive to match. My perfect man who rides a motorbike (anything but a Harley, this is Britain afterall), enjoys art, literature and can articulate the beauty of Chopin while driving me home from a Foo Fighters concert and then seamlessly switch to joking about the 60 year-old couple in the front row with the Grateful Dead t-shirts.

As I get older (38 this month) I realize that he just isn't out there. For so long every man I dated: doctor, lawyer, film-maker — most recently an African Prince — hasn't equalled my almost lover. Now I know it's time to end it with this epitome of maleness, my imagined Adonis, and move on. Like A Fine Frenzy says: "Goodbye, my almost lover/ Goodbye, my hopeless dream/ I'm trying not to think about you/ Can't you just let me be?/ So long, my luckless romance/ My back is turned on you/ I should've known you'd bring me heartache/ Almost lovers always do".

"Disturbia" – Rihanna

I admit it, I'm a fan of Rihanna and her brand of R&B, Euro-disco dance-pop. It's so addictive when done right and she (or is it her handlers?) is so very good at it. In my original review of Good Girl Gone Bad from 2007 I said "When it’s good it is scorching and when it’s bad the CD is not worth standing your drink on. Thank god for MP3 players so you can chose the best tracks and throw the shite away." With the re-release, Good Girl Gone Bad Reloaded they did just that, discarding most of the crap and adding more danceable, high-energy tracks worthy of the rest of the album. The best of these new tracks is the single "Disturbia".

"Disturbia" is everything I like most about Rihanna, with it's repetitive beats and lyrics, it is inimitably danceable, and its dark electro carnality appeals to the naughty girl in me. The affect on me is obvious whenever I take to the dance floor. My mood lifts, when I feel that hot beat move through my feet, up legs and into my hips, forcing me to gyrate lustily in time to the music. What more reason do I need to love a song?

Posted in Music, Personal, Reviews, Songs that touch my soul | Tagged , , , , , , | Leave a comment

Crosby Loggins and the Light – We All Go Home

Posted on July 16, 2008 by

If your father was a Grammy-winning musician who had numerous top ten hits, there would undoubtedly be a lot of pressure to produce similar results – if you chose to follow the same career path. Let's face it, so few of those who follow in their famous parents footsteps achieve legitimate success in their own right. I can give you a fairly lengthy list of those who never really achieved that elusive success, which would start with Kelly Osbourne's rather laughable attempt at pop success and end with the tragic tale of Julian Lennon – a truly talented man who had the great misfortune to both look and sound like his legendary father John (let's be kind and not mention Lisa-Marie Presley). A few have had success, Dweezil Zappa, Jakob Dylan, and Ziggy Marley among them. Why is success for the children of famous parents so elusive? The answer is fairly simple. Who takes a famous musician's child seriously at first glance?

However with music in your soul, in your blood, you have little choice but to follow in your family footsteps- not unlike a family of doctors, stockbrokers or police. Crosby Loggins – son of Kenny – faces this uphill battle, but luckily he is armed with considerable talent and vision all his own. And growing up around multi-talented artists like Jackson Browne, Graham Nash, and Glen Phillips has no doubt inspired him to create his own music.

Recently Crosby released his début album, We All Go Home, featuring the talents of fellow musicians and friends – many the sons of rock stars themselves – and sporting the name Crosby Loggins and the Light, together they created an album that is a testament to true talent. Filled with addictive melodies, harmonies, and ardent lyrics We All Go Home is a mix-up of musical genres, with flavours of jazz, funk, folk, rock and pop, catchy riffs, engaging melodies and earnest lyrics. Crosby is a warm, soulful singer-songwriter and this album reflects that. His vocals are smooth, honeyed and nearly flawless and his songwriting is perfectly tuned to his vocal style, powerfully emotive, passionate, with hints of nostalgia.

We All Go Home begins with “Good Enough”, a smooth pop-filtered song with the mixture of sounds and instruments that defines Crosby Loggins and the Light. When you have a group of musical prodigies gathered you take advantage of that, and Crosby did indeed use all the considerable skills of his percussionist/drummer, guitarist, and violinist.

On “Always Catching Up”, the second track, the mixture of electric and acoustic guitar and violin with piano creates a richly textured sound. The lyrics, co-written with sister Bella Loggins, are filled with powerful images of running out of time while searching for something, what that is we are never really told. This is a common theme throughout We All Go Home.

“Rock Into Sand” has a much more upbeat, piano-jazz feel to it, with an indie rock twist. More awe inspiring instrumentation, although as with the rest of the album, none ever takes over. There are no egos in Crosby Loggins and the Light. One of my favourite tracks, “Man in the Middle” is a more low-key, cool track heavily influenced by violin, mandolin and piano. However it still maintains a pop-rock feel. Lyrically, it's the tale of a man bailing out a girl, although unlike his father Crosby never tells a direct story, but rather implies it (very effectively too.)

Undoubtedly the most controversial track on We All Go Home is “March On, America”. It's a song with a strong military march feel, but without compromising its rock-roots. And it is just that, a rock song. And the electric guitar solo (one of very few on the entire album) is actually an electric violin. But it's the lyrics that many would find controversial, at a time in America where many believe the government's “you're either for us or against” line of bullshit. Crosby says it very well, “I've seen the subtle insanity, these politics are gonna be the end of humanity/ See what you do, illegal ain't illegal if its good enough for you…” and “You're a dissident lately, just to stand and demand the truth…” Ending the track with the very wise and poignant words “Disgraceful approach, listen to the words from the hypocrite’s throat/ cryin', 'Calling all patriots! Rally 'round Rome! World's on fire and we're goin' to war!'/ David, Goliath, cat, mouse/ How many will die before we figure this out!?” [Sic]

Other songs to listen for include, the indie rock flavoured “Here She Comes”, with its sweetly nostalgic lyrics and perfectly executed violin adding tears to the music. “Wanna Be You” with its funk-infused guitar riff and happy piano that are so complimentary, yet so opposed to the unhappy lyrics. “Radio Song” that sounds for all the world like a new-wave, alt-country song, which I would have said wasn't possible. The title track “We All Go Home” is a smooth soulful jazz song that would fit nicely into the playlist of any cool jazz bar. And finally my favourite song on the album “Same Old Song (La, La, La)” which is the only track that will remind you that he is Kenny Loggins' son. This folk-rock, acoustic guitar song is a homage to his dad, all sweetly plucked guitar and lyrics that express both his love and pride for his father and frustration of being in his shadow.

We All Go Home is a triumphant album, with very few missteps. On the whole Crosby and his Light manage to find a way though the musical minefield they entered when they decided to make a genre-less album. It's powerful when it needs to be, fun and funky when you need a break and perfectly polished all over. I can recommend this album with no twinge of guilt, and I'll go out on that limb and say that Crosby Loggins is an artist to watch, no matter who his daddy is.

If you would like to hear tracks from We All Go Home you can check-out Crosby's own website or of course you could always visit his MySpace space. Better yet, just take my word for it, and click the Amazon link on this page and buy the album. You won't regret it.

Posted in Music, Reviews | Tagged , , , | 1 Comment