The Weekend Review New Music Report: 2010 Edition

Originally posted 2011-01-17 10:00:06. Republished by Blog Post Promoter

By Chris Moore:

In the past, before the Weekend Review was officially a segment on the Laptop Sessions blog and my articles had the oh-so-clever title of “Music Review” — and I know, I know, “the Weekend Review” isn’t all that much more clever — I have been accused of writing reviews that were positive to a fault.

This may well be true, as I have found it challenging these past couple years to define and refine my voice as a music critic who is also a singer/songwriter.  After all, it has been difficult to find a comfortable middle ground between praising music simply because someone labored over it and pointing out flaws to bring others down a notch.

Being an “amateur” has allowed me the opportunity and relative privacy to hone my craft.

I’ve come a long way from the every-so-often, knee-jerk nature of my early “CD Reviews,” articles that I typed and saved on my computer long before the Fusco-Moore Productions blog — now known as the Laptop Sessions blog — was launched.  I’ve also come a significant way since the aforementioned “Music Reviews.”  And, I’d like to think that I’ve progressed as a writer over the past year of “Weekend Reviews.”

So, this being my fifty-second and final Weekend Review of 2010, I decided to dedicate it to laying out a table of contents of sorts for the fifty-four reviews I’ve written this year (including “Yes, No, Maybe So?” one-sentence reviews).  They’re arranged below in descending order from my one five-star rating down to my handful of one-star reviews.

What it all amounts to is a lot of music from a diverse range of artists that run the genre gamut.  The one common denominator here, the one solid link between all subjects of the Weekend Review, is the presence of the singer/songwriter.  With the exception of a couple of cover song albums, these are albums of original music released in 2010.

The best I can offer as an overall statement for the year’s music is that this was, overall, an excellent year for new music.  The range tended to follow the bell curve (1 five star, 14 four stars, 23 three stars, 13 two stars, and 3 one stars), but this should not undercut the fact that there were fourteen very strong, interesting, entertaining albums released this year.

In all fairness, what the year was lacking was any albums that really blew everything else out of the water.  Although several have argued this point with me, I do not hesitate a moment to give All in Good Time (BnL) the full five-star nod.  That being said, I do not consider it their best album, not by a long shot.

So, where does that leave us?

In my opinion, it leaves 2010 as a very strong year with at least fifteen strong reasons to buy new albums, but it also leaves a gap for those attuned to and awaiting the next, best classic albums for the ages.

I hope you’ll check back for my final post (at least for a while) on the blog tomorrow and that you’ll consider checking some of these albums out while they’re still available on the ever-increasingly trend- and contempo-centric CD shelves.

54 New Albums, 2010: Arranged in descending order of star ranking (out of 5).

All in Good Time (Barenaked Ladies) – 5 stars
Bad Books (Bad Books) – 4.5 stars
Be in Love (Locksley) – 4 stars
Broken Bells (Broken Bells) – 4 stars
Heaven is Whenever (The Hold Steady) – 4 stars
Kaleidoscope Heart (Sara Bareilles) – 4 stars
Lonely Avenue (Ben Folds & Nick Hornby) – 4 stars
Mines (Menomena) – 4 stars
Mojo (Tom Petty & the Heartbreakers) – 4 stars (4.5 w/o “Candy” & “Takin’ My Time”)
Night Work – (Scissor Sisters) – 4 stars
Sea of Cowards (The Dead Weather) – 4 stars
Suburba – House of Heroes – 4 stars
The Grand Theatre Volume One (Old 97’s) – 4 stars
The Suburbs (Arcade Fire) – 4 stars
Volume Two (She & Him) – 4 stars
A Postcard from California (Al Jardine) – 3.5 stars
A Singer Must Die (Steven Page with the Art of Time Ensemble) – 3.5 stars
American Slang (The Gaslight Anthem) – 3 stars
American VI: Ain’t No Grave (Johnny Cash) – 3 stars
As I Call You Down (Fistful of Mercy) – 3.5 stars
Brian Wilson Reimagines Gershwin (Brian Wilson) – 3.5 stars
Brothers (The Black Keys) – 3.5 stars
Dark Night of the Soul (Danger Mouse & Sparklehorse) – 3.5 stars
Death to False Metal (Weezer) – 3 stars
Destroyer of the Void – (Blitzen Trapper) – 3.5 stars
Easy Wonderful (Guster) – 3 stars
Everything Under the Sun (Jukebox the Ghost) – 3.5 stars
High Violet (The National) – 3.5 stars
How to Destroy Angels (How to Destroy Angels) – 3 stars
Hurley (Weezer) – 3.5 stars
Light You Up (Shawn Mullins) – 3 stars
Lo-Fi for the Dividing Nights (Broken Social Scene) – 3 stars
Page One (Steven Page) – 3.5 stars
Sigh No More (Mumford & Sons) – 3.5 stars
Something for the Rest of Us (Goo Goo Dolls) – 3.5 stars
Stone Temple Pilots (Stone Temple Pilots) – 3.5 stars
To The Sea (Jack Johnson) – 3 stars
Transference (Spoon) – 3.5 stars
Court Yard Hounds (Court Yard Hounds) – 2.5 stars
Crazy for You (Best Coast) – 2.5 stars
Eureka (Rooney) – 2 stars
Everything Comes and Goes (Michelle Branch) – 2 stars
Familial (Philip Selway) – 2.5 stars
Forgiveness Rock Record (Broken Social Scene) – 2 stars
Heligoland (Massive Attack) – 2 stars
Infinite Arms (Band of Horses) – 2 stars
National Ransom (Elvis Costello) – 2 stars
Realism (Magnetic Fields) – 2.5 stars
Women & Country (Jakob Dylan) – 2.5 stars
Write About Love (Belle & Sebastian) – 2.5 stars
Y Not (Ringo Starr) – 2.5 stars
100 Miles from Memphis (Sheryl Crow) – 1.5 stars
Clapton (Eric Clapton) – 1 star
Interpol (Interpol) – 1 star

Music Review: Cory Brown’s “Days In A Life” is acoustic, soulful, and takes us on a journey

Originally posted 2012-09-26 22:56:58. Republished by Blog Post Promoter

By Jim Fusco:

Cory Brown is a songwriter with quite the pedigree.  Growing up in California (my personal favorite breeding ground for musicians), he had his father Barry (of the 70s band Morning) to look up to while he learned to play guitar and write songs.  Clearly, he picked something up from the genre of music that his father helped pioneer: the melodic tunes and soft-rock style is in great form on Cory’s 2012 debut album, “Days In A Life”.  But, Cory’s music still sounds fresh and relevant today.  His songwriting ability and style will fit well on any contemporary rock station.

This may be the debut album for Cory Brown as a solo artist, but he’s garnered some success already in his young career with a band called 7th Direction.  Clearly, Cory’s first solo album allowed him to express himself more- the songs on “Days In A Life” are introspective and poignant.  They’re the kind of songs that would only sound right on a solo record.  It’s kind of like Brian Wilson when he made “Pet Sounds”- even members of the Beach Boys have said that “Pet Sounds” was essentially a Brian Wilson solo record.  And they were correct- with the raw emotion and personal tales of longing, as in “Days In A Life”, it’s work that comes from the heart of only one person.

My favorite track on the album is “Her Eyes”.  The guitar hook and the well-crafted unique harmonies on the chorus really make this a stand-out track.  The track features just the right amount of that Crosby, Stills, and Nash semi-country-rock feel with the great guitar soloing throughout.  The track just begs for multiple listens.  I have a feeling I’ll be listening to “Her Eyes” for quite a while.

One theme I noticed throughout the whole album is the theme of traveling.  In many tracks, from “Wingman”, “Grass on the Highway”, and “Lacy Ann”, Cory weaves in visions of traveling.  He talks about driving across the country and even living life on “overdrive”.  He asks various people not to leave him and travel away, but also talks about the youthful need to run away.  As a songwriter myself who has gone through those same emotions early in life, I can definitely relate.  And, with Cory’s God-given talents, his songs and subject matter will only get more complex and interesting as time goes on.

Cory Brown’s music, tour dates, and bio can all be found on his website at http://corybrownmusic.com.  And, make sure to go get “Days In A Life” on iTunes right now by clicking here!

The Weekend Review: July 2011 Report

Originally posted 2012-01-01 11:03:22. Republished by Blog Post Promoter

By Chris Moore:

 

The Grand Theatre: Volume 2 (Old 97’s)

Producer: Salim Nourallah

Released: July 5, 2011

Rating: 3 / 5 stars

Top Two Tracks: “Manhattan (I’m Done)” & “Brown Haired Daughter”

Oddly enough, it is my pleasure to report on the rockin’ mediocrity of The Grand Theatre: Volume 2.  I do, though, need to revise a previous statement.  In my Weekend Review of Volume 1, I posited two questions: “Are the best songs being split between both records?  If so, then why not make some difficult decisions on the chopping block and release one album that will be the best possible Old 97′s record?  If not, then will Volume Two emerge as a sort of b-sides and unreleased tracks compilation that is destined to disappoint in the shadow of Volume One?”  In retrospect, I should have added a third question to account for another possibility: that Volume 2 would be an enjoyable record, but with an entirely different feel than Volume 1.  Unlike the Barenaked Ladies double-album Are Me/Are Men (which had a united feel throughout both records and the best recordings split between the volumes), the Old 97’s recorded this music during the same set of sessions yet clearly divvied up between two distinct categories: songs that are polished, more artistically rendered and songs that are fun, with a “live” sound.  For my personal preference, Volume 1 will always stand out, but Volume 2 is a solid record.  I, thus, go on the record as saying that this was the perfect release strategy for this body of music.

 

All of You (Colbie Caillat)

Producer: Greg Wells, Ken Caillat, Ryan Tedder, Toby Gad, Jason Reeves, & Rick Nowels

Released: July 11, 2011

Rating: 2.5 / 5 stars

Top Two Tracks: “Shadow” & “What If”

In All of You, we find yet another case of Wings syndrome, a condition found predominantly in singer/songwriters who are exceedingly happy in their personal lives.  These artists seem to have lost the link to the real world, floating into the blissful ether of cheesy lines and upbeat music untempered by frustration, disappointment, or any other clues to suggest the music is being written by a human being.  I have nothing against a good happy song, but for any album to be nothing but pleasant  — and simply so – can be oddly grating.  It leads an average person to wonder about the writer vaguely burying trouble in “Think Good Thoughts” and optimistically addressing existence in “Dream Life, Life.”  What boundaries are there to the dream life?  Without some fleshing out of those details, the overall effect falls short.  After being introduced to outstanding previous Caillat work, notably “Fallin’ For You,” I was disappointed in the quality of All of You.  The trick to beautiful, happy music has always seemed to lie in the subtle artistry.  The best, happiest Jack Johnson music, for instance, has always suggested a wink around the corner, a clever grin waiting to happen, sometimes even a regret or an irritation.  In much of Caillat’s previous work, there has been a sense of beautiful possibilities on the verge of coming true; on All of You, it seems the fairy tale has taken over.  (Though, to be fair, the closing track “Make It Rain” serves as a reminder of her emotional range.)

 

Sky Full of Holes (Fountains of Wayne)

Released: July 20, 2011

Rating: 4 / 5 stars

Top Two Tracks: “Someone’s Gonna Break Your Heart” & “Acela”

For the first time in eight years, since 2003’s Welcome Interstate Managers, I can honestly return to Fountains of Wayne without shaking my head.  It is a testament to the backsliding inherent in Traffic & Weather (2007) that I haven’t been excited about anything from Fountains of Wayne since I heard it.  When I have returned to Welcome Interstate Managers, I’ve been instantly drawn back into its dynamic magnetism.  That being said, I’ve all but ignored their back catalog, haven’t even heard Traffic & Weather all the way through, and was not excited about this year’s Sky Full of Holes in the least.  For some reason, though, I did buy it.  (I’ll go on record here, though, as saying I don’t and have never owned a copy of Traffic.)  So strong was this distaste for their previous record that I’ve only recently grown to fully appreciate Sky Full of Holes: the folksy charm, the range apparent in the instrumentation and even the lyricism.  The same characteristic Fountains of Wayne wit and voice are maintained throughout, yet there is a sense of returning to roots and to rock here in the best sense: embracing the acoustic guitar, lacing the best tracks with guitar solos and lush vocals.  In short, Sky Full of Holes isn’t so much a return to form as it is a step forward in their career.  Does it match the peaks of their 2003 masterpiece?  Not quite.  But it certainly doesn’t disappoint.

 

Rabbits on the Run (Vanessa Carlton)

Producer: Steve Osborne

Released: July 26, 2011

Rating: 3.5 / 5 stars

Top Two Tracks: “I Don’t Want to Be a Bride” & “Dear California”

Though she can probably best be described, from the public view at least, as a one-hit wonder, Vanessa Carlton continues to labor artistically, successfully in relative obscurity.  To be certain, there are echoes of her previous work here on Rabbits on the Run, but there is also a vitality, an authenticity to her delivery that was probably lacking on her early work.  As the cover would suggest, her new album is simple effort: ten tracks that rely most heavily on the gorgeous triad of vocals, piano (and other real instruments), and lyrics.  Guitars are used to great effect throughout, particularly on a standout like “Dear California,” a track that cleverly employs the “Surfin’” lineup of guitar, bass, and simple drums, with some Carlton-tinged piano thrown in to color the recording to fit her work, immediately flowing back into her characteristic cross between upbeat and murky, soaring and haunting, in “Tall Tales for Spring.”  The pinnacle, though, comes early in “I Don’t Want to Be a Bride,” a sparsely arranged statement of standing apart from societal and family expectations in confidence of one’s self and one’s relationship, expressing an independence from institutions and documents in favor of the abstract concepts purportedly expressed in the aforementioned conventions.

 

Back Pages (America)

Released: July 26, 2011

Rating: 2 / 5 stars

Top Two Tracks: “Caroline No” & “A Road Song”

Nothing smells quite so stale as an album of covers billed as a “new studio album,” released over four and a half years after the previous studio album.  In America’s case, Back Pages is hardly a quality follow-up to the heights of 2007’s excellent, modern-feeling Here & Now or their album before that, 1998’s Human Nature.  I suppose, considering their previous two releases, it should come as no surprise that any album would have a difficult time living up to recent memory.  But a covers album?  Back Pages didn’t stand a chance.  For the true fan, there are obvious high points: particularly on their sweet, sublime rendition of Pet Sounds alum “Caroline No” and in the obligatory “America” cover, which was truly a nice touch.  Probably the best track on the album is “A Road Song,” in the sense that it sounds vital, new… probably because it is: America released this Fountains of Wayne cover a matter of days before they released their recording.  That is what is perhaps most disappointing about Back Pages: it only serves as a reminder of the uniquely excellent work that has come before and the promise of what might be yet to come.  If I wanted to hear an excellent New Radicals cover, I would’ve turned to Hall and Oates.  However, I expect more from an America release.