Track Review: Rye Rye, 'Boom Boom'

by Jeff Benjamin  |   ?????? 28, 2012 10:00 EDT

RYE RYE
"Boom Boom" (3:23)
Producer: Rudy "Mayru" Maya
Writers: various
Publishers: various
N.E.E.T./Interscope

M.I.A. protégée Rye Rye has had more than her fair share of setbacks with the release of her debut album, and in the time between her arrival in 2007 and her May debut, "Go! Pop! Bang!," the singer has already tweaked her sound. The chorus to "Boom Boom" is a riff on Vengaboys' catchy "Boom, Boom, Boom, Boom!!" single-a smart move, as Rye Rye's youthful delivery on the hook is paired with her impressive rap skills. While the production is strictly pop, her striking ability to spit rhymes prevents genericness, and the bridge nicely mashes up her two musical poses with a dance breakdown. "Boom Boom" is a fun, appealing track that has the best potential for breaking Rye Rye to new audiences before her full-length finally arrives.

Return To Reviews Main Page

View the original article here

Track Review: Of Monsters and Men, 'Little Talks'

by Ryan Reed  |   April 29, 2012 10:00 EDT

OF MONSTERS AND MEN
"Little Talks" (4:26)
Producers: Of Monsters and Men, Ingolfur Arnarsson
Writer: Of Monsters and Men
Publishers: Amar Rosenkranz Hilmarsson/Brynjar Leifsson/Nanna Bryndís Hilmarsdóttir/Ragnar Porhallsson (BMI)
Skrimslehflaekjaras 1/Universal Republic

One could probably count the number of successful Icelandic musical imports on one hand, and based on the influence of forward-thinking acts like Björk and Sigur Rós, Iceland is now stereotyped as a glacial nation of insular, twinkling art-rock experimenters. But with its boisterously catchy single "Little Talks," indie-pop sextet Of Monsters and Men aims to set the record straight, clearing off decades of cultural cobwebs with a blast of radiant sonic sunshine. "I don't like walking around this old and empty house," Nanna Bryndís Hilmarsdóttir sings in a soulful, ecstatic croon. "So hold my hand/I'll walk with you, my dear." It's a simple lyrical message, but the group's innocent, hook-filled ruckus speaks volumes. Underneath the vocals, Of Monsters and Men conjures epic sea-shanty joy, with brass blasts and gang hand claps punctuating acoustic strums and clattering drums.

Return To Reviews Main Page

View the original article here

Track Review: Big K.R.I.T., 'I Got This'

by Jon Blistein  |   April 07, 2012 10:00 EDT

BIG K.R.I.T.
"I Got This" (3:24)
Producer: Big K.R.I.T.
Writers: J. Scott, W. Hutch
Publisher: Sippi Land Publishing (BMI), Jobete Music, OPC Music Publishing (ASCAP)
Def Jam

Behind the boards, Big K.R.I.T. continues to astound. His self-produced new track, "I Got This" -- which may appear on his long-awaited Def Jam debut, "Live From the Underground" -- starts with the jittery click of a guitar pick against strings, but with the bend of a bass note it morphs into a classic Southern rap symphony, complete with relentless high-hat ticks, rattling snares and the stickiest synth line this side of G-funk. K.R.I.T. sounds as nimble as ever on the mic by showcasing the versatility of his Southern drawl: The MC can let his voice glide before instantly throwing his flow into high gear and piling syllables on top of each other. The overall subject matter of "I Got This" isn't groundbreaking or even insightful, but K.R.I.T.'s skill is so impressive that by the time he's whispering "I got this here" during the bridge, it's hard not to believe him.

Return To Reviews Main Page

View the original article here

Review: Wilco's "Whole Love" has shades of Beatles (Reuters)

LOS ANGELES (TheWrap.com) – Wilco's eighth album, "The Whole Love," could almost be called "The Whole Enchilada," so thoroughly does it summarize the disparate sides the beloved band has developed over the last 16 years.

If you relished the experimental "Hotel Yankee Foxtrot" -- the 2001 breakthrough that made them the darlings of the rock intelligentsia and even got them classified as America's own Radiohead -- then you'll love the seven-minute opening cut.

A headphones must, "Art of Almost" opens with a gurgle of indeterminate electronic noise and time signature-defying drum pattern before eventually ramping up into a frantic guitar-freakout climax.

But don't get too attached to that mind-blower, because nothing else on the album sounds remotely like it. Jeff Tweedy is nothing if not the master of the artful fake-out.

Much of the rest of "The Whole Love" skews closer to the group's roots-rock beginnings, including some delicate, finger-picking tracks that fit right into the Americana genre Wilco seemed determined to shun for a while. It's as if Tweedy deliberately wanted to throw anyone who might come looking for that stuff off the scent by placing the most potentially alienating, anti-acoustic epic right at the beginning.

Somewhere between his country-rock and electronica inclinations, you suspect Tweedy must be more of a Beatles buff than previously imagined. That's partly because of the "White Album"-style unpredictability. And it's partly because the wispy, piano-driven, bitter "Sunloathe" is so Lennon-esque, in comparison to the upbeat distinctly old-fashioned "Capitol City," which sounds like Paul Westerberg doing Paul McCartney doing the '30s.

Anyone scared off by Wilco's relatively avant-garde phase in the early '00s may want to face their phobias and check out the new album's relatively straightforward guitar rockers. "Dawned on Me" starts off sounding like a slowed down version of Supergrass' power-pop classic "Alright" before developing its own melodic strengths. The deceptively sunny-sounding, death-themed "Born Alone" could be the best Shins outtake we've never heard.

Amid all the stylistic expansion and free-association lyrics, Tweedy isn't afraid to break your heart with a handful of back-porch ballads.

With a bare overlay of sad steel guitar and an eventual string section, "Black Moon" is ever bit as haunting as you'd hope from that promising title. He adopts a falsetto to skip merrily through the wounded title cut, where, having been newly "set free," Tweedy nonetheless vows to "still love you to death/And I won't ever forget how." Acoustic as it is, the tune somehow ends with some "Penny Lane"-worthy outro flourishes.

The closer, "One Sunday Morning," is epic only in length -- just over 12 minutes -- but utterly simple in style. Tweedy's verses have a son mourning and celebrating the dead father who taught him intolerance. (Is the song's shunned son gay? It seems a strong possibility, though Tweedy isn't about to get that direct.) The lyrical piano that fills out the instrumental closing minutes couldn't be farther than the percolating synthesizer beeps that open the album.

It's a quiet stunner, and not because Wilco is pushing any particular envelopes in the moment, other than maybe emotional ones.

After leaping around between styles through most of their catalog, Wilco now seem comfortable having it all. "Kid A-mericana," anyone?

View the original article here

Review: Wilco's "Whole Love" has shades of Beatles

Jeff Tweedy (C), John Stirratt (R) and Nels Cline (L) of Wilco perform ''Broken Arrow'' at the 2010 MusiCares Person of the Year tribute honoring recording artist Neil Young in Los Angeles January 29, 2010.

Credit: Reuters/Mario Anzuoni

By Chris Willman

Tue Sep 27, 2011 4:42pm EDT

LOS ANGELES (TheWrap.com) - Wilco's eighth album, "The Whole Love," could almost be called "The Whole Enchilada," so thoroughly does it summarize the disparate sides the beloved band has developed over the last 16 years.

If you relished the experimental "Hotel Yankee Foxtrot" -- the 2001 breakthrough that made them the darlings of the rock intelligentsia and even got them classified as America's own Radiohead -- then you'll love the seven-minute opening cut.

A headphones must, "Art of Almost" opens with a gurgle of indeterminate electronic noise and time signature-defying drum pattern before eventually ramping up into a frantic guitar-freakout climax.

But don't get too attached to that mind-blower, because nothing else on the album sounds remotely like it. Jeff Tweedy is nothing if not the master of the artful fake-out.

Much of the rest of "The Whole Love" skews closer to the group's roots-rock beginnings, including some delicate, finger-picking tracks that fit right into the Americana genre Wilco seemed determined to shun for a while. It's as if Tweedy deliberately wanted to throw anyone who might come looking for that stuff off the scent by placing the most potentially alienating, anti-acoustic epic right at the beginning.

Somewhere between his country-rock and electronica inclinations, you suspect Tweedy must be more of a Beatles buff than previously imagined. That's partly because of the "White Album"-style unpredictability. And it's partly because the wispy, piano-driven, bitter "Sunloathe" is so Lennon-esque, in comparison to the upbeat distinctly old-fashioned "Capitol City," which sounds like Paul Westerberg doing Paul McCartney doing the '30s.

Anyone scared off by Wilco's relatively avant-garde phase in the early '00s may want to face their phobias and check out the new album's relatively straightforward guitar rockers. "Dawned on Me" starts off sounding like a slowed down version of Supergrass' power-pop classic "Alright" before developing its own melodic strengths. The deceptively sunny-sounding, death-themed "Born Alone" could be the best Shins outtake we've never heard.

Amid all the stylistic expansion and free-association lyrics, Tweedy isn't afraid to break your heart with a handful of back-porch ballads.

With a bare overlay of sad steel guitar and an eventual string section, "Black Moon" is ever bit as haunting as you'd hope from that promising title. He adopts a falsetto to skip merrily through the wounded title cut, where, having been newly "set free," Tweedy nonetheless vows to "still love you to death/And I won't ever forget how." Acoustic as it is, the tune somehow ends with some "Penny Lane"-worthy outro flourishes.

The closer, "One Sunday Morning," is epic only in length -- just over 12 minutes -- but utterly simple in style. Tweedy's verses have a son mourning and celebrating the dead father who taught him intolerance. (Is the song's shunned son gay? It seems a strong possibility, though Tweedy isn't about to get that direct.) The lyrical piano that fills out the instrumental closing minutes couldn't be farther than the percolating synthesizer beeps that open the album.

It's a quiet stunner, and not because Wilco is pushing any particular envelopes in the moment, other than maybe emotional ones.

After leaping around between styles through most of their catalog, Wilco now seem comfortable having it all. "Kid A-mericana," anyone?

View the original article here

Review: Chambers listens to 'little bird' (AP)

Kasey Chambers, "Little Bird" (Sugar Hill)

With a girlish voice and weakness for songs that put an aching vulnerability on display, Australian country rocker Kasey Chambers sometimes seems a little delicate.

That history lends extra power to the title cut of her new disc. Chambers sings of a "little bird" who tells her she might get her man back "if I shut my mouth and don't make a scene" or suppress her individuality in some other way.

She eventually concludes: "I don't want you that bad." It's a strong statement of empowerment and a terrific song, too. The flip side is it takes the wind out of low self-esteem songs like "Invisible Girl," where she's another nowhere girl pining for love.

Chambers resembles a junior version of Lucinda Williams in the "Car Wheels on a Gravel Road" era. That's not to diminish her; Lucinda sets a pretty high standard. Chambers' band crackles, moving easily between mandolins and crunching electric guitars. She writes solid songs and deserves a bigger following here.

CHECK THIS TRACK OUT: We like Chambers best when displays what's unique about her. In this case, it's "Nullarbor (The Biggest Backyard)," where she sings of her unconventional childhood growing up in an Australian wilderness area.

View the original article here

Review: Chris Young comes into his own on 'Neon' (AP)

Chris Young, "Neon" (RCA)

Since Chris Young won the TV talent show "Nashville Star" in 2006, a few characteristics have stood out: an expressive baritone voice; a tall, handsome stature; and a friendly, approachable personality.

What he lacked, at first, was an identifiable sound of his own. But with four consecutive No. 1 hits, including the recent "Tomorrow" from his new album "Neon," the emerging country star is staking out a distinctive style that takes full advantage of his talent and his personality.

At his core, Young is a romantic with a moral code. The Tennessee native has a sensitive way of bringing out what's important about what he cares about and who he is. This style shows not only in love ballads, but also in songs about family and his laid-back yet caring philosophy on life.

Even on a song about nightlife, like the traditional-country title cut, Young sounds like the guy in the bar to turn to when you need a friend. But what makes "Neon" his best album yet are the songs about relationships, from the sweet come-on of "Lost" to the sage "Old Love Feels New." Throughout, Young comes across as a guy whose heart is as strong as his libido.

CHECK OUT THIS TRACK: While the album's initial hit "Tomorrow" may end up as one his career-defining cuts, the tenderly lustful "I Can Take It From There" is just as strong. Set to a swaying rhythm, he convinces his date to spend the night in rather than out on the town — with passionate promises that are steamy without being coarse.

View the original article here

Review: Blake Shelton delivers his best on new CD (AP)

By MICHAEL McCALL, For The Associated Press Michael Mccall, For The Associated Press – 1 hr 28 mins ago

Blake Shelton, "Red River Blue" (Warner Bros.)

Ten years in, Blake Shelton's up-and-down career is now skyrocketing, with no dips in sight.

His current hit, "Honey Bee," is his fourth consecutive No. 1, setting records for a male country singer in how fast it reached gold in digital sales. He is the current CMA Male Vocalist of the Year, and he starred as a coach in the popular NBC talent show, "The Voice." He also married country singer Miranda Lambert earlier this year in a high-profile romance that captured the media's attention.

But the best sign of how far he's come can be heard on "Red River Blue," his eighth album. Singing with more confidence than ever, and collecting solid songs that highlight his playful personality and his vocal talent, Shelton adds fuel to the upward trajectory with the best album of his career.

The Oklahoma native at times recalls other country superstars: He mixes the soulful escapism of Kenny Chesney, the macho swagger of Trace Adkins and the tough-guy wit of Toby Keith. But Shelton is a better singer than all of them, especially on ballads like the soaring "Over" and the sensitive title cut.

But it's the breezy, fun songs that will mark this album, from the swaying sting of "Honey Bee" and sweet groove of "Ready To Roll," "Hey" and "Drink On It." This is the sound of a good singer making the best of his hard-earned stardom.

CHECK OUT THIS TRACK: "Get Some," with its finger-picked acoustic guitar and sliding dobro set to a jaunty rhythm, captures a back-country attitude better than any of the endless list of recent songs celebrating country life.

View the original article here

Review: Bo-Keys rely on vets for strong new album (AP)

By MICHAEL McCALL, For The Associated Press Michael Mccall, For The Associated Press – Fri Jun 24, 3:12 pm ET

The Bo-Keys, "Got To Get Back!" (Electraphonic)

The Bo-Keys not only extend the venerable Memphis tradition of recording instrumental rhythm & blues, the multi-generational band also employs several veterans who played on the original Stax and Hi label recordings that the Bo-Keys emulate.

The band's first album in seven years, "Got To Get Back!" highlights contributions from players who toured and recorded alongside B.B. King, Al Green and Isaac Hayes, as well as trumpeter Ben Cauley, the lone surviving member of the Bar-Kays from a plane crash that also took the life of Otis Redding. Known as an instrumental group, the new album showcases several soul and blues vocalists who span the ages, including William Bell, Otis Clay and Charlie Musselwhite.

Perhaps it is the participation of so many veterans, or perhaps it is the passionate zeal of band leader Scott Bomar, but for one reason or another, the Bo-Keys present a muscular yet spare sound that captures the grit and grease of classic, horn-driven R&B. Where many revivalists pale compared to the originals, the Bo-Keys would have fit right in next to legendary Memphis musical crews the Bar-Kays and Booker T. & the M.G.'s.

CHECK THIS TRACK OUT: On the title track, "Got to Get Back (To My Baby)," Otis Clay growls and roars against a rousing brass backdrop, charging through the pumping track with a sweaty ferociousness reminiscent of the late Wilson Pickett.

View the original article here