Reviews by Gérard
August 25, 2005 by Sugartune
CHRIS VON SNEIDERN "California Redemption Value" Mastromonia Records (www.cvsmusic.com)
l’homme de San Francisco est incontestablement l’une des icones de la Pop mondiale (à l’instar de TommyKeene, Jason Falkner, pour ne citer que ceux qui me viennent de suite à l’esprit) et ce 12e album ne peut que rajouter à la légende du bonhomme. Songwriter exceptionnel, un sens de la mélodie quasi unique, une voix chaude et reconnaissable entre toutes, bref honte à vous si vous n’avez pas au moins un album de Chris dans votre cdthèque. Pourquoi pas celui là ? Il a tous les atouts pour vous conquérir : les pop songs aux mélodies ravageuses (I’m like you/you walked away/tale of two cities) les ballades imparables (sorry/on the ground) les guitares aiguisées (lonely tonight/if you run to me). Rien que du bonheur, un des meilleurs albums Pop de l’année.
The man from San Francisco is unquestionably one of the icons of Pop worldwide (following in the footsteps of Tommy Keene, Jason Falkner, to mention only a few of those in the same spirit) and this 12th album can only to add to the legend of the man. Exceptional songwriter, a unique sense of melody, a hot voice that is recognizable by all, it is a shame to if you have not at least one album of Chris’ in your CD collection. And if not, why not this one? It has all the goods to win over your rock and roll heart: the pop songs with the raunchy melodies (I’m like you/you walked away/tale of two cities) the memorable ballads (sorry/on the ground) the sharpened guitars (lonely tonight/if you run to me). This is nothing but good times and one of the better Pop albums of the year.
THE CHURCHILLS "The Odds of Winning" Near Records/Red Eye (www.thechurchills.net)
Le 4e album de ce quatuor New Yorkais et toujours pas de mauvaise surprise. Une sacrée performance pour ce combo qu’on peut difficilement ne pas connaitre compte tenu du nombre important de leurs appartions dans de nombreuses séries TV (Spin City, Division, Everwood, Summerland) Un album très complet, très solide avec des morceaux accomplis et des hits à la pelle (sometimes your best isn’t good enough/I’m a sucker for a girl in uniform/they’re never gonna find me) De la Power Pop qui prend tout son sens : puissante, mélodique, efficace. On en redemande…
The 4th album of this New Tork City quartet and not one bad surprise. A sacred performance for this combo that one can not notice without difficulty considering the number of important appearances they have made on a number of TV series (Spin City, Division, Everwood, Summerland) A very complete, very solid album with accomplished songs and hits aplenty (sometimes your best isn’t good enough/I’S’ m has sucker for has girl in uniform/they’ re never gonna find me) Power Pop that is: powerful, melodic, effective. We have to ask again…
RICKY "High Speed Silence" Beat Crazy Records (www.beatcrazy.co.uk, www.rickyonline.co.uk)
Une des meilleures surprises de cette année 2005, un très jeune combo anglais (une vingtaine d’années pour chacun) et un deuxième album qui s’impose comme une des grandes réussites Pop de ces derniers mois. "Easy on you" qui le démarre vous assome littéralement d’entrée! Une puissance mélodique hors du commun, une mise en place musicale parfaite, le premier hit de "high speed silence". Il en va de meme pour les titres qui s’enchainent sans dementir cette excellence et cette brillance des compositions. On est pour moi bien loin des errances de cette Brit Pop tant décriée à raison. Le genre d’album qu’on s’impose le matin au milieu du jus d’orange et des corn flakes. Un bonheur sans cesse renouvelé. Je suis de nouveau supporter de cette perfide Albion qui nous a tout de meme apporté souvent tant d’incontournables perles Pop (des Beatles à nos jours) Ricky détient l’estimable record du groupe non signé classé dans les charts indés anglais. On ne peut maintenant que souhaiter avec un certain optimisme que le groupe décroche un top 1 qui ne serait que justice. Achat obligatoire…
One of the better surprises of 2005 so far, a very young English combo (each member is about twenty years old) with a 2nd album that is one of the big Pop successes of these last few months. "Easy one you" that starts off the album literally welcomes you in! A melodic power out of the ordinary, perfectly placed musically is the first hit "High Speed Silence". It is the same for all the songs on this album that shine in their excellence and are brilliant in their composition. This is a far cry from the usual type of Brit-pop so prevalent these days. This is the kind of album kind that one listens to in the morning in between the orange juice and corn flakes. A continually renewed happiness. I have always loved this type of sunny Brit pop that reminds me of a modern-day Beatles. Ricky holds the record for most songs on the indie rock English charts by an unsigned artist. One cannot but hope that this band would hit it big with a number 1 hit. It would truly be pop justice. An essential purchase.
THE SUPAHIP "Seize the World" Big Radio Records (www.bigradio.com.au)
Ah l’Australie, toujours mère porteuse de beaux bébés joufflus et vigoureux, véritable point d’ancrage de la Pop mondiale. Ici c’est un duo brillant qui s’impose avec une collaboration fructueuse et spontanée. Michael Carpenter qu’on ne devrait plus présenter (chanteur, compostieur, musicien, producteur, être humain formidable) et Mark Moldre du groupe Hittchcock’s Regret (plusieurs très bons albums) ont oeuvré en fait deux petites semaines mais étalées sur plus d’un an pour aboutir à 12 titres particulièrement inspirés (englobant une reprise maitrisée de "wouldn’t it be good" de N Kershaw) On sent à travers ces morceaux tout le paisir que les duettistes ont pris pour concocter ce superbe travail, digne d’un artisan de valeur dans son atelier. La voix claire et brillante de Michael, celle plus eraillée et rampante de Mark se complètent magnifiquement. On croit entendre à certains moments une influence Beckienne bien sympathique. Heureusement qu’il y a encore ce genre d’ album pour nous laisser espérer à une musique vivante et incarnée, loin des formats des multi nationales du disque.
Ah Australia, always the mother carrier of beautiful babies more chubby-cheeked and more vigorous, a true anchor for Pop world-wide. Here is a brilliant duet that is born of a fractious and spontaneous collaboration. Michael Carpenter is somebody that should need no introduction (singer, composer, musician, producer, great human being) and Mark Moldre of the group Hittchcock’s Regret (several very good albums) worked for only two weeks in total but spread out over more than a year to produce these 12 particularly inspired songs (including a great cover of "Wouldn’t it be Good" by Nick Kershaw). One feels when listening to this album that it is the result of the work of fine craftsmen working away in their pop workshop. Clear and brilliant voice of Michael and the stylings of Mark magnificently compliment each other. One can even hear at certain moments an interesting and likable Beckian. It is fortunate that this type of CD gives us hope for the future of music.
theater of pain?
August 13, 2005 by Sugartune
So, I was drinking to kill the pain of my drinking-induced knee injury when I decided it would be a great idea to check out this band, The Hurtin’ Unit.
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I’m a little bit Country… Iz a l’il soooouuulllllllll!!! |
Some background:
Way back in the twentieth century, at a mostly empty shitkicker joint in Buttfuck, Georgia, a certain Hank Williams was sippin’ bourbon with his good friend Mr. James Brown. At the only other inhabited table sat Ol’ Bill Monroe and an acne-scarred girl from Texas who called herself Janis. Bill was playing Janis with Southern Comfort and singing her sad mountain songs, with the eventual intention of making his way into her pants. Hank and James, amused by Bill’s transparent attempts at seduction and strangely aroused by Janis’ knowing eyes and wailing voice (she was a little drunk and had started to Sing the BluesTM), left off their conversation about mixing up country and soul (a pipe dream, they decided, “Who ever heard of country and soul in the same band?”) and moseyed on over to see if Bill and Janis would let them in on the fun.
Introductions were made, rounds were bought, and soon it was closing time. It was agreed that the party would adjourn to a little place Hank had on the river nearby (a tourbus, and a smelly one, it turned out). No one remembers much about the rest of that full-mooned humid evening, but about nine months later, a baby was born. A baby wearing a cowboy hat, playing a fiddle, doing the splits, and screaming blue, bloody murder.
The baby’s name was The Hurtin’ Unit.
Are they country? Oh yeah! Sad-eyed and blue as the kentucky grass.
Soul? Shit, motherfucker-these cats got more soul than Memphis.
Bluegrass? A touch of the jug.
They were, in fact, so good that, forgetting the fact that I was on crutches, I was moved to dance. I danced myself into a sweat. I whirled. I leapt. I sang. I jumped. I broke my crutches and injured my good leg.
I waited until the last set was over, staggered up to the stage, And said,”YERR TH’BESS’FUGGIN’ BAND I SEEN IN AGES ‘N AGES!!” I got a copy of the cd, went home, and listened to it. It was good — not as good as live, but good enough to cause my thumping, aching, abused foot to anger my neighbors into calling the police on me. Now I’m missing more time at work, my rent is late, I can’t walk, I need new crutches and I have this noise fine to pay. But I’ve found a good band-even though they get me in trouble.
The Hurtin’ Unit are mood music for a romantic dinner in the drunk tank. They are the houseband at a rodeo in Harlem. They are dissolute. They are crispy around the edges. They’ll break your heart, make you laugh, buy you a drink when you’re supposed to be on the wagon, and hit on your sister. They are the perfect band to dance to on crutches.
They are country soul.
They’ll be coming to your town someday. Be warned.
Missed Gem
August 5, 2005 by Sugartune
REVIEW: Rich Robinson – Paper [2004 - Keyhole Records]
So you were disappointed by Chris Robinson’s solo albums? They seemed
interesting, but not … complete? Like Chris needed a band that
understood him? Well friends I have the antidote and the cure and the
acorn did not fall far from the tree…
From the first stuttering riffs of Yesterday I Saw You on Rich Robinson’s Paper,
it’s as clear who is the soul of the Black Crowes. As clear as the
difference in the Mick Jagger and Keith Richards solo records.
Don’t misunderstand, I love Chris Robinson’s lyrics, but Rich is a
capable singer, and the music carries this record far. I don’t mean
that as a swipe; Chris was probably trying to move beyond or away from
the Black Crowes sound, where as Rich embraces and expands it a little,
and that familiarity draws you right into this record. Rich has none of
Chris’ yelp or strut in his singing voice, but that’s okay.
What can you expect? Well the first three cuts are walls of
swirling guitars; Yesterday I Saw You, Enemy and Leave It Alone
picking up where the Crowes Lions left off. Know Me
and it’s slide and lower production value harken back earlier days
sounding like a lost late era Zeppelin track, something cut at the same time as Wearing and Tearing and Ozone Baby that came out on Coda. Forgiven Song and it’s
slow funeral speed, pedal steel and fiddles play like Jerry Jeff
Walker’s Lost Gonzo Band doing the Stones Moonlight Mile. Veil and When You Will are
cousins of the Crowes’ Evil Eye and Non Fiction.
But with Places Rich explores an evil feedback drenched
overdriven riff unlike anything ever heard on his other band’s records.
Not Black Sabbath heavy, not CCR swampy, it’s just a plodding and
insistant groove that just drags you under with it. The mood is
lightened by Begin and it’s pre-Joker Steve Miller sound with nice
keyboards by Crowes mainstay Eddie Hawrsch. Falling Away is a great
slow acoustic ballad over which Rich lays some of his signature blues
bending. The keyboard driven Baby and Oh No allow Rich some open
tuning slide time. Answers with a string quartet in the background
and It’s Over are rhythym driven tracks, Answers being a bouncing
rhythym and It’s Over following a turnaround waltz !?!.
I say again, Rich is no singer, but his voice is as passable as
anything. I want to use Steve Miller as an example, but he’s even more
deadpan than that. But that’s not the point. This is a GREAT album that
you may have missed.
** And do NOT forget friends, that the Black Crowes are on tour this summer and fall WITH Steve Gorman back on tubs and a clean and sober Marc Ford back in the fold, leaving only bassist Johnny Colt out of the amazing and dynamic Amorica or Bust touring band.
Reviews by Gérard
August 1, 2005 by Sugartune
THE BROKEDOWN "The Dutchman’s Gold" www.thebrokedown.com
Un jeune quatuor de L.A. formé simplement en 2004 nous sort un 7 titres remarquable par la qualité de ses compositions (qu’elles soient pop ou power pop) par sa musicalité, par l’instrumentation et la voix très accrocheuse de son leader Ross Flournoy. Le plus souvent pour mettre les gens en haleine ou leur baliser le terrain, on cite telle ou telle influence. Ici le terrain défriché est vaste et couvre 3 décennies de Pop millésimée. Jason Falkner ou Eugene Edwards ne s’y sont pas trompés, citant The Brokedown comme un de leurs groupes préférés du moment. Comme d’habitude quand le dessert est succulent, on en demande encore. Ici les 7 titres paraissent trop courts et on va vite s’impatienter pour un album complet à venir. The Brokedown est déjà un groupe indispensable pour tout amateur de mélodies chatoyantes et guitares carrillonnantes.
A young quartet from L.A. formed in 2004 who have produced 7 tunes that are remarkable in their quality and their style (whether they be pop or power pop), their musicality, their instrumentation and the very catchy vocals of leader Ross Flourny. Most often the style of a band determines their influences and here the band’s influences are vast and cover 3 decades of vintage pop. Jason Faulkner or Eugene Edwards have been cited as some of the groups preferred by the band at the moment. As usual when you have an incredibly delicious dessert, you always want more. These 7 songs go by very quick and it only leaves me impatient for a complete album in the near-future. The Brokedown are already a highly recommended group for fans of sparkling melodies and jangling guitars.
DERBY "This Is The New You" www.derbyrock.com
Premier album auto produit pour ce trio de Portland, OR. leur musique est à l’image de la très jolie pochette : un fond de beaux nuages blancs, un ciel bleu azur, une colline vallonée et verdoyante. "Jet set" qui démarre l’album m’a fait immédiatement penser aux Pernice Brothers. les Shins s’invitent aussi sur les titres qui suivent. Peu importe les références ou influences, c’est surtout la maitrise instrumentale et vocale qui impressionne. Pour un premier essai, pas de tatonnements, pas de moment faiblard sur l’ensemble des 11 titres proposés. Une Pop apaisante, presque intimiste due essentiellement à la voix suave et charmeuse de Nat Johnson. Derby est assurémment l’un des plus beaux artisans de la Pop indé de 2005.
This is the debut self-produced album from this Portland, OR trio and their music conveys a wonderful mental image: an azur blue sky populated by white clouds, a green and verdant hill. “Jet Set” which kicks off the album makes you immediately think of the Pernice Brothers, the Shins are another band that one thinks of as you listen to the rest of the tracks. More important than these references or influences, it is the quality of the vocals and the playing that leaves the greatest impression. For a debut album there are no fillers weak spots in the 11 tracks. Very appealing Pop with an intimacy due in no small part to the swave and charming voice of Nat Johnson. Derby is one of the better practitioners of indie Pop in 2005.
THE PICTURES "Pieces of Eight" (Smash Music) www.thepictures.net/
L’Australie est vraiment un des derniers royaumes de la Pop et de la Power Pop. Cette fois ci c’est un trio de Melbourne qui fait des siennes avec un premier album détonnant. Je crois l’avoir déjà écrit dans ses colonnes mais quand la formule trio fonctionne (Hendrix’s Experience, Cream, Jam…) c’est le bonheur assuré. C’est le cas ici avec une diversité de tempos et des compos accrocheuses dès la première écoute. Davey Lane a une voix charismatique et il porte avec sérénité les 12 titres présentés. Un groupe australien qui lorgne du côté de la perfide Albion pour sur mais sans les tics insupportables d’une Brit Pop dépassée. Sans oublier des guitares et encore des guitares. J’ose imaginer The Pictures sur scène : incendiaire pour sur. Indispensable.
Australia is really one of the last great kingdoms of Pop and Power Pop. This time it is a trio from Melbourne who are the heirs to the throne with their amazing debut album. As I have written in the past when a trio really connects (Hendrix’s Experience, Cream, the Jam…) a good time is guaranteed. That is what you get here with a diversity of tempos and catchy songs that click upon your very first listen. Davey Lane has a charismatic voice that he carries with style on the 12 tracks on the album. An Australian group that longs to be a part of a Brit Pop scene long since past, The Pictures would have been an incendiary addition to the scene with guitars and still more guitars. Indespensible.
