CD Reviews
June 21, 2006
Camera Obscura
Let’s Get Out of This Country
(Merge)
For years, Scottish band Camera Obscura just couldn’t shake the Belle and Sebastian comparisons, but they were fair ones, as one sometimes wondered if they didn’t have specific B&S tracks in mind when composing their own. This worked both for and against them, as they certainly picked up some B&S fans but had to deal with accusations of being overly derivative. Now their new album seems to take influence not as directly from B&S but rather from the same ‘60s music from which B&S now more openly draw.
Pop lovers, particularly fans of orchestral Brill Building-style arrangements, are likely to find the album’s opener pretty irresistible, and when lead singer Tracyanne Campbell sings the chorus of “Hey Lloyd, I’m ready to be heartbroken,” shifting from a minor key to a major one mid-sentence, it’s a perfect, melt-worthy moment. The rest of the first half isn’t as upbeat, with the country-tinged “Dory Previn” and the waltz number “The False Contender,” and some of the rhymes are obvious to the point of distraction. The second half works better, overall, with the hummable title track and the slightly fuzzed-out “If Looks Could Kill,” with recording qualities of the garage rock era. Although the album includes a handful of top-notch pop songs, one can’t help but feel like something’s holding the band back. Being derivative isn’t the problem, but more memorable and distinctive lyrics would probably help out. And that’s one thing the group can learn from Belle and Sebastian.
-Ernie Paik
Mike Keneally Band
Guitar Therapy Live
(Exowax)
Frank Zappa once referred to Mike Keneally as “the best new guy I ever had in the band.” Keneally played in Zappa’s last touring band in 1988, and when personality conflicts caused that band to implode, he embarked on a solo career using Zappa as a model of how creative and adventurous a musician can be.
As engaging and accomplished as they were, Keneally’s earlier solo albums stayed somewhat close to the Zappafied rock vibe. He’s mixed things up a bit in recent years, however. 2001’s acoustic and gorgeous Wooden Smoke caused XTC’s Andy Partridge to ask, “How many people do you know who can make a CD sound hand-carved?” 2004’s Dog was a ruthless collection of thinking man’s rock. He described his other release that year, The Universe Will Provide, as “a collaboration between me and my eight-year-old self.” In actuality, Keneally collaborated with the 50-plus-piece Metropole Orkest (also featured on a new Elvis Costello disc) to present some of his far-out, often rock-leaning orchestral works.
While a bit of a throwback, Guitar Therapy Live—featuring Brian Beller (Bass), Rick Musallam (guitar) and Joe Travers (drums)—revisits most of Keneally’s previous musical eras with renewed vigor. And loudness. It’s almost an unfair collection, really. Recorded over three nights last year, the performances on Guitar Therapy Live are dominated by, as the title suggests, guitar. But not your typical hair band guitar wonkery. For as many notes as Keneally and Co. play, they play them in almost as many styles and feels as is humanly possible. This band has forgotten more music than your typical indie rock flavor of the month will ever know, and they execute their knowledge with not only depth and virtuosity, but accessibility and a lack of pretension (see: fun) that many of their lesser competitors could learn a thing or two from.
Among the highlights: “Panda” is slick, breezy, back alley funk. “Lightnin’ Roy” is a punchy, Van Halen-esque instrumental romp that eventually collapses in pile of heavy metal bluegrass. Not getting too big for your britches is at the heart of the rocking “Pride Is a Sin,” while Smoke’s “Machupicchu” comes off just as pretty as the original. If “Uglytown” had any more hooks, it would be catching fish, while “Voyage to Manhood” pays a power chord homage to Christopher Cross before relating the excitement of throwing coasters at a ceiling fan. Oh, and the liner notes are hilarious.
Sometimes it’s great to sit back and be blown away by the sounds of great players playing great. Yes, guitar therapy, indeed.
-Bill Colrus
Freddie McGregor
Bobby Bobylon
(Heartbeat/Studio One)
Originally released in 1980 on the legendary Studio One label, Bobby Bobylon made singer Freddie McGregor a star in Jamaica. Over twenty-five years later, how well does it hold up? Very well, actually. It consists mostly of songs with tried-and-true rhythms underneath new lyrics, but there are also several updated McGregor numbers, the fresh “Tomorrow is Like Today,” and a sure-footed cover of the Ethiopians’ “I’m Gonna Take Over Now.” The album stays within reggae conventions, with thick, humid bass lines, playful organ skronks, and easy-going vocal harmonies. McGregor’s voice is smooth and soulful, which naturally works well for the lovers rock tracks, especially “Go Away Pretty Girl,” but he sounds equally comfortable when dabbling in other reggae flavors. A strong Rasta influence is present (he converted in 1975), and McGregor manages to convey his spirituality without an overbearing tone. In fact, the bouncy arrangements are a bit deceptive, as some lyrics have ardent messages of anti-oppression, like the title track which speaks of an “evil plan” and rhymes “captivity” with “brutality.” This reissue adds eight bonus tracks taken from various singles, all consistently good, making a strong album even more appealing.
-Ernest Paik
John Lee Hooker, Jr
Cold as Ice
(Telarc)
Few musicians have so much family legacy and reputation to carry on as John Lee Hooker Jr. The son of a true genre-defining legend assuredly has an uphill battle out of the gate, and BIG shoes to fill.
John Lee, Jr. started off with a strong move with 2004’s Grammy nominee Blues With a Vengence. His latest offering, Cold As Ice, credibly follows a very narrow path: electrified Chicago-style blues.
A surprisingly good track on this new CD is a cover of John Lee Hooker, Sr.’s “I’m In the Mood.” Some would say that re-inventing one of daddy’s songs is perfunctory and obligatory, but John, Jr. certainly holds his own in the groove with his track. Strong backing from guitarist John Garcia, Jr. helps throughout the disc, as does a very strong traditional horn section.
In an odd gesture to show that he has his own style, John, Jr. takes two tracks disturbingly far into rapland: “4 Hours Straight/Blues Man” and “I Got To Be Me” are basically rap with horns.
Altogether, not quite up to the debut disc (second servings rarely match the standard initially set), but worthwhile for the serious and open-minded blues fan.
-Nancy Robinson
Marian McPartland’s Piano Jazz
With John Medeski 
(The Jazz Alliance)
John Medeski, the keyboardist of the jazz trio Medeski, Martin and Wood, grew up listening to Marian McPartland’s Piano Jazz on National Public Radio, so it was obviously a treat for him to be a guest on her long running program. He sticks to grand piano for this session, beginning with a jaunty interpretation of Thelonious Monk’s “Ba-Lue Bolivar Ba-Lues Are,” while playing Cole Porter’s “Out of This World” with a somewhat dark, Latin flavor. McPartland takes her turn with the bittersweet “Threnody,” written in memory of the great pianist and composer Mary Lou Williams, accompanied by bassist Gary Mazzaroppi. But the two pianists are hardly generations apart when playing together, whether tackling an old warhorse like “Caravan,” a total improvised “Free Piece,” or the wild finale of Medeski’s intense “Bubble House,” which begins from a simple riff and delves into avant garde jazz and blues, among other styles. Their conversation between numbers is every bit as enjoyable as the music itself. It’s a shame that Concord Records has been so slow to issue other memorable programs from this syndicated radio series.
-Ken Dryden
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