Obo Addy, Wonche Bi (Alula)
Drummer Obo Addy is definitely the finest Ghanan drummer in Portland, Oregon -- we all knew about him growing up in the Beaver State, but it's not like we went around listening to him or anything -- and this disc actually does a lot to support his bid to be taken seriously as a fun serious artist. With a band of his students and a couple special guests (trumpeter Thara Memory contributes two beautiful solos), Addy whips through 10 tracks in 68 minutes, turning his nine-piece core unit into a jazz big band on some songs (opener "Obaaye Onye" chief among them) and into a credible Afro-funk ensemble on others ("Don't Go", "Alode", "Gidi Gidi Betse"). His huge rough-hewn voice does nice things in call-and-response style with his backing trio, his drumming is beyond the pale -- especially with at least three other drummers credited -- and he just radiates good will and big heart and large spirit. He needs some help with quality control (no song should EVER have a track called "Drumming Peace Into the Twenty-First Century" EVER), but overall, Oregon and Ghana are in the house here in a gigantic way.
-- Matt Cibula
Steve Adelson, The New Sticktet (Essay Music)
Steve Adelson, a virtuoso performer on the Chapman Stick, provides a number of different grooves here. Accompanied by an able group of musicians, he does Carribean jazz ("Tone Eleven"), swing ("Tap Dance"), free ("The Answer Is Free") and Latin ("Fran's Mambo"). He also brings in a couple of heavy guest performers. Guitarist Larry Coryell brings some real excitement and a bluesy feel to "Nadda Chants (9 on 12)", offering a fast-paced, well-constructed take on the modal changes and trading licks with Adelson later in the piece. Pianist Dennis Moorman also takes a nice turn, offering echoes of McCoy Tyner's robust style. Stick master Tony Levin joins Adelson in a stick duo on "Woodstick Suite", and the depth of texture that is created by these two musicians is incredible. Throughout the CD, Adelson plays bass lines, guitar-like melodic lines and chordal accompaniment simultaneously without the use of overdubs. A solid effort that will be appreciated by jazz, fusion, and progressive rock fans alike.
-- Marshall Bowden
Anthemic Pop Wonder, Rapid Pop Thrills
Yes, the band's name is sarcastic, and so is the album title. This is basically a collection of decent, occasionally great lo-fi tunes by an online Guided by Voices fanatic. And in the tradition of his hero Bob Pollard, David Murrow (a.k.a. Dfactor) dares you not to love his button-down hooks and quavery melodies. Really, this stuff is pretty endearing, a love affair with music that just makes your heart melt. The sound is an imitation of GbV's Vampire on Titus era, though without the basement variety and Pabst anarchy. In fact, the nonstop jangle and warble of Rapid Pop Thrills is more reminiscent of those old Angst LPs on SST back in the 1980s (and I'm sure Dfactor most own 'em all!). Which leads me directly to the album's centerpiece, a little track called "How Great Was Hüsker Dü!". This is a tribute that has the best summary of that brilliant trio I've ever heard: "Many blinding punk rock nights (at the Cubby Bear), jump like Greg, sing like Grant, but you know Mould was the glue (flying V it was), his guitar was Hüsker Dü". Then he starts singing the hook from "New Day Rising" as if his life depended on it. When you're done wiping away the tear rolling down your cheek, you can shuffle through the other great tracks on the album: "Here's My #1" (a hooky opener that features the couplet "My buddy George, he takes the cake, / Complains his wife's orgasms are fake"), "The Masterminds (Behind the Master Plan)" (the most Pollard-esque tune on the album, a headlong rush with a sound like splashing beer), "Do We Dare?" (a staid tribute to a dead friend), and "Hero For a Friend" (the most sober and humble 9/11 tune I've heard so far). Oh yeah, and also there's "Let Go in a Song" with it's Monkees hook, cathartic theme, and the prophetic sentiment, "Good times ahead for the upper class". Criminy, I have a new favorite song every time I listen! Still, at 55 minutes, the album is a bit overlong, and though his lo-fi is brave, it's a bit wearing in such an extended dose. Sounds great on a multi-CD changer though. And while you're digging it, be sure to visit the excellent Anthemic Pop Wonder Blog for some entertaining reading.
-- Mark Desrosiers
The Carpenters, 20th Century Masters: The Millenium Collection (Universal)
A pointless entry in Universal's "20th Century Masters" collection, because it offers neither a retrospective of greatest hits nor even a collection of favorite tracks. Songs such as "This Masquerade", "I Just Fall in Love Again", and "Love Is Surrender" weren't even released as singles, and most of those who know the Carpenters from their big hits won't know these songs. Possibly their inclusion is part of surviving Carpenter Richard's attempts to rewrite history, casting himself as the integral part of the group's sound with his arrangements. He's even gone so far as to rework some of his piano parts on various remastering projects in his bid to create a legacy as the Brian Wilson of soft rock. The big hits that are included here -- "Yesterday Once More", "Top of the World", "Only Yesterday" and "Goodbye to Love" -- are as wonderful as always, with Karen's quiet storm vocals the centerpiece. Unless you are a collector, there's absolutely no reason to own this.
-- Marshall Bowden
The Carpenters, Gold: Greatest Hits [DVD] (A&M)
The only experience more uplifting, more relaxing, than hearing Karen Carpenter sing is watching her do it. A&M's brand new greatest hits video collection, Carpenters Gold more than succeeds in demonstrating just how sensuous and alive the ill-fated star looks when performing on stage. Many of the videos contained in this package are performance pieces featuring Karen and her brother Richard belting out their most recognizable and cherished hits with ebullient smiles on their faces all the while. As far as hits go, you'd be hard-pressed to find a more comprehensive collection; alongside the tragic "Hurting Each Other", "Rainy Days and Mondays" and "Superstar" are decidedly upbeat classics "Top of the World" and "(They Long to be) Close to You". These songs remain as intricate and specialized as they were when originally released two decades ago. Also featured are some the duo's more experimental work which proved them more than just a sultry pop act, such as "Calling Occupants of Interplanetary Craft" and their unhurried version of The Beatles' "Ticket to Ride". The loss of Karen Carpenter is truly one of music's great tragedies, but with this lavishly produced DVD, her greatest moments are fully on display, allowing any true fan to relive her talent, her spirit and obvious love of the stage again and again.
-- Nikki Tranter
Firebug, Fragile (Buddha Belt)
Instantly appealing about Firebug is the mixture of sounds featured on their debut release, Fragile. The band's melodic alt.rock sound is injected on almost every track with a healthy dose of jazz, blues, electronica and early '90s grunge. Because of this, it's hard to know at the beginning of any of the album's 11 tracks, just where it will go musically. Add to this Juliette Tworsey's bizarre vocals, which slip from Ann Wilson to Johnette Napolitano to Gwen Stefani to Courtney Love to something entirely removed and original at any given moment, and you've got yourself a solid, intricate, delicate debut. Originally from Chicago, Firebug has spent the last few years cutting its musical teeth in clubs in and around Hollywood. Regulars to hip spots the Troubadour, the Roxy, and Whisky A-Go-Go will certainly have heard Firebug's brand of restless rock. Not entirely content with just one type of audience, however, the band also has a steady history entertaining at more alternative venues, Mr T's Bowl and Silverlake art gallery, Holly Matter. This is indicative of the band's ability to cross genres to please a variety of crowds without compromising its sound. "White Picket Fences", for example, is one song that could fit into a variety of categories. At first glance, the song is simply Juliette raging on about "want[ing] to go home" -- an angry punk-rock track with little structure or melody. Suddenly, however, it becomes a glorious, bluesy anthem of modified displacement, with the singer twisting and turning her world-weary vocals to sound as though she really could use a bus ride to nearest bed. But Juliette and her boys -- Jules Shapiro on guitars and piano, Jeff Eccles on bass and Ty Dennis on drums -- aren't content with just a blues track cleverly disguised as rock. Midway through the track, the electronic sizzling starts up, and you'd be forgiven for thinking you'd tripped and fallen into an entirely different record. Similarly, "Left for Dead" starts out as a silky-smooth jazz-inspired number, before evolving into a fully-fledged gothic rock ballad. Juliette again gives her voice a thorough workout hitting the lowest of low notes before erupting into high-pitched, blood curdling wails. "Be Like You" is a blues-rock tune fronted with Juliette choosing to punk up her voice to enhance the already delicious mix, and the first-rate, "The Wise Girl", blends sweet pop harmonies throughout its verses, with harder, more ferocious choruses. This exciting intermingling of styles happens again and again on Fragile, yet it is by no means a gimmick. "Old Friend" and "Wars to Win" are two tracks that begin and end as relaxing-but-brutal grunge-y ballads while "Least You Can Do" is a three-minute ride atop rolling waves of '80s power punk. "The Hard Way" and "Want It Need It" are the band's most accessible tracks -- pop-rock tunes busting with solid harmonies and catchy melodies. Even without the jumps and jolts of explosive guitars or ping-tingling pianos, these tracks are still completely enjoyable, and only succeed in further proving how solid a grip Firebug has on its varied abilities. With a no-holds-barred approach to rock, and fearless drive to experiment with just about every sound in the rock 'n' roll handbook, Firebug's Fragile is certainly one of the most daring, competent releases of the year.
-- Nikki Tranter
Jeremiah Freed, Jeremiah Freed (Republic/Universal)
The name hints at the kind of classic rock bands that have influenced this Portland five-piece, and the music confirms that Jeremiah Freed obviously spent their formative years rummaging through their parents' record collections. Yet these influences are welded to a contemporary post-grunge modern rock sound and the end result is an enjoyable if slightly flawed album. Things kick off with the blistering "Stranded", an initially muted song that powerfully bursts into life, followed by the mid-paced "How They All Got Here". Single release "Again", is the album's commercial highlight, and some good-old-fashioned shredding courtesy of supremely talented guitarist Nick Goodale is found on "Eyes. Life. Change". All good stuff, but the problem with Jeremiah Freed is a disappointing second half. Tracks
like the uninspiring, forgettable "Out of Trust", "Reasons" and "Can't Live" plod on lamely although the acoustic "Ginger" mixes things up a little. Overall, a solid, if unspectacular debut.
-- Andrew Ellis
Sinkcharmer, Stars in Winter (Unstoppable/Handstand Command)
One of the many bands making up Boston's Handstand Command arts group, Sinkcharmer is an eight-piece outfit specializing in moody and dysfunctional music. The band's disc, Stars in Winter, is an epic journey through pop, rock, folk and electronic sounds, with front man, Paul Coleman using heavy but stilted guitars and gloomy vocals to give the piece a confused, jolted, often depressing feel. "Brightest Minute in the Darkest Hour" and "Down to Dollars" demonstrate the band's willingness to experiment with bizarre studio noises to assist with the car-crash-fantasy-type music filling out much of the record, the latter sounding oddly like early Mamas and the Papas. "As Nevada Burns", "Precious Lies" and "The Lightest Way" cut this experimentation back a little resulting in some decent, understated tracks. Stars in Winter fails only due to the lack of variety among the tracks, with the album often sounding like one long song. Tunes drift and sway back and forth into and out of each other so much that you never really know where you're up to, or, for that matter, what Sinkcharmer is up to. As an experimental piece among friends, though -- it passes.
-- Nikki Tranter
Martin Stenmarck, One (Donkey Dog)
Martin Stenmarck is apparently already something of a star in his native Sweden, and with this smart, polished and highly listenable album, his popularity is likely to rocket elsewhere too. Armed with an ultra-commercial voice as well as some slick, contemporary pop-rock tunes, Stenmarck's material is similar to that on Def Leppard's recent album X as well as artists like Joey Tempest and other melodic Swedish exports. The superb trio of "Cure For You", "Stop" and "Thief" are three of the best modern rock songs you'll hear in 2003 and are easily the album's standouts. Elsewhere, "Frozen in My Heart", "Let's Get It On" and the angry-sounding "I Got To" sustain the up-tempo mood, and the whole album, despite its independent status has the feel of major-label quality. One is by no means perfect, but with this album, Stenmarck has given himself every chance of carving out a career outside his native country.
-- Andrew Ellis
Scott Sylvester, Redemption Center (Eternal Otis Music)
Since hearing award-winning singer-songwriter Scott Sylvester's recent acoustic effort The Unintended EP, I've been eagerly anticipating the full-band, full-length follow-up. Redemption Center is that album and it's even better than I expected it to be. Crammed full of intelligently written and expertly crafted songs, it's an album of the highest quality from start to end. Sylvester's music is always nothing short of captivating, and with songs as good as the superbly "Waiting Here for You", the poignant "It's Over" and the quite brilliant "Middle of My World", he never fails to compel, either lyrically or musically. The excellent duo, "A Dream I've Never Had" and "Too Much Anger" are resurrected from Sylvester's previous EP and like every other song here, are given real depth and power by Sylvester's wonderful band. Everything about Redemption Center -- songwriting, production and packaging -- is as good as it gets. Clearly, this album doesn't deserve to stay under the radar for long.
-- Andrew Ellis
— 10 February 2003
