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27 February 2006

The Hi-Frequencies, Money Isn't Everything (Teen Regime) Rating: 7
Money Isn't Everything is an almost note-perfect throwback to the early 1960s, a time when performers wore suits and ties without irony. The group has that slightly fuzzy '60s edge to their drums, and their guitars twang with the lovely, resonant sound of surfer rock. Jayson Brooks' voice goes deep and precise in all the right places and in their cover of Fats Domino's "Hello Josephine" he even manages a citron falsetto. Occasionally the '60s mood slips, very slightly, and something more modern creeps in -- "California Ave" doesn't quite nail it, but the next song, "Peacock Stomp," makes up for that with rolling drums and a sharp guitar. It's self-produced as well: members of the band run both the Teen Regime label and the studio where the album was recorded. (See the Teen Regime website for an explanation of guitarist Bill McAdams' pro-analog philosophy.) If The Hi-Frequencies have a fault then it's the politeness of their sound. Money Isn't Everything could use some aggression a la Dick Dale or Jerry Lee Lewis. Still, it's an independent label and a great little album. What's not to like? — Deanne Sole [Insound]
"I'm Talking About You": [MP3]

Vivian Campbell, Two Sides of If (Sanctuary) Rating: 6
For the first half of the 1980s, Vivian Campbell was one of the finest, flashiest lead guitar phenoms in heavy metal. After cutting his teeth with the underrated Irish band Sweet Savage during the New Wave of British Heavy Metal explosion, the Belfast native joined former Rainbow singer Ronnie James Dio's new band, and it was with the formidable Dio band that he came into his own. Barely into his 20s, Campbell played a major part on three massive-selling albums, the 1983 classic Holy Diver, 1984's The Last in Line, and 1985's Sacred Heart. In the years since, though, Campbell went on to play it safe as a hard rock hired hand, abandoning the flashy solos, first as a touring guitarist for Whitesnake, then as the late Steve Clark's replacement in Def Leppard in 1992. Granted, he's had a nice ride for the past 20 years, but it's hardly challenging for such a talented musician, and his solo debut, Two Sides of If, is a welcome departure. While longtime metal fans will be surprised that the album is a collection of rambunctious blues covers, any trepidation vanishes as soon as we hear Campbell let loose his razor-sharp solos on numbers by Robert Johnson, Willie Dixon, and Rory Gallagher. While his electric blues is nothing new at all, and his backing band tends to be on the generic side (though Joan Osborne and Billy Gibbons pop in to liven things up), Campbell's complete lack of pretentiousness, not to mention his wicked soloing skill makes the album an easy one to like, and it's clear he's having a blast playing something new, instead of churning out "Pour Some Sugar on Me" for the kazillionth time. A side note: Campbell's comprehensive list of all the equipment used for each track will thrill the guitar geeks out there. — Adrien Begrand [Insound]
Two Sides of If: [multiple songs]

Nadine Zahr, Underneath The Everyday (Chirality) Rating: 6
Nadine Zahr's voice could be a blend of Melissa Etheridge and Billie Myers, particularly if the opening song "Where I Never Was" is a measuring stick. The song slowly builds, adding strings and acoustic guitar for a fine, radio-friendly adult contemporary format. And it's this blueprint that she excels with during the moody "Beautiful Soldier" that sounds like Nelly Furtado minus the Latin flavoring or overtones. When she slows things down, as she does on "Less Than 24 Hours", her soulful, bluesy side comes across so strong it's well worth repeated listens, especially with the horns and subtle piano. Zahr fits perfectly into a roots-meets-adult contemporary pop realm on "Wait" resembling a blend of Amanda Marshall and Melissa Etheridge with her pipes shining near the song's homestretch. Unfortunately, a few miss the mark, particularly the light and too breezy "Sunset". Another highlight though is "Around You" that has Zahr front and centre with some nice turns of phrases. "A Little Better" is, well, a little better than the previous track. But generally, Zahr has a very appealing voice that is velvety soft and almost rock hard when it needs to be. — Jason MacNeil [Insound]
"Where I Never Was": [MP3]
"Beautiful Soldier": [MP3]
"Less Than 24 Hours": [MP3]

Liz Janes & Create(!), Liz Janes & Create(!) (Asthmatic Kitty) Rating: 4
On her latest album, Liz Janes completes the departure from her punk roots which she began on her sophomore outing Poison & Snakes. Liz Janes & Create(!) pairs Janes with the avant-folk jazz collective Create(!) to rework, rearrange and reinvent public-domain songs. It sounds more interesting than it actually is. It would be unfair to state that the new arrangements of these songs are uninspired. That so much care went to so drastically recreating them precludes that. However, this collection of songs does sound uninspired, as if during all the hubbub and excitement of creating new from old, Janes and Create(!) lost sight of the heart and soul of the songs. Only "Son, Old Jeremiah / Keep Your hand on the Plow" breathes life into this otherwise innocuous collection of songs. For the most part, the spirit of these songs remains listless (if resurrected at all). — Dave Brecheisen [Insound]
"Lonesome Valley": [MP3]

.: posted by Editor 7:29 AM