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The Weekend Review: July 2012 Report

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By Chris Moore:

Cold Hard Want (House of Heroes)

Producer: Paul Moak

Released: July 10, 2012

Rating:  3 / 5 stars

Top Two Tracks: “Out My Way” & “The Cop”

Kicking off as it does with the a cappella “A Man Who’s Not Afraid,” it is immediately clear that House of Heroes continues to work to defy the preconceived formulas imposed on their genre.  The next three tracks proceed to blow the roof off, raging with energy and literally screaming with ideas, criticisms, and hopes for change.  While “We Were Giants” runs a bit predictably, “The Cop” rebounds with the rare acoustic outing by House of Heroes, highlighting their more subtle talents, primarily with vocals.  Where this album falls of previous efforts, most notably 2010’s masterful Suburba, is from midpoint forward; the second half suffers from alternatingly predictable and bland moments that detract from the powerhouse opening.  Still, Cold Hard Want is a strong effort that marks House of Heroes as band worth keeping track of.

 

 

 

Harakiri (Serj Tankian)

Producer: Serj Tankian

Released: July 10, 2012

Rating:  4 / 5 stars

Top Two Tracks: “Uneducated Democracy” & “Cornucopia”

“We rape the earth and don’t know why it strikes,” Tankian sings early on Harakiri opening track “Cornucopia.”  This sets the pace for the ten tracks that follow, ten songs driven by a critical voice that is masterfully woven into fast-paced soundscapes.  As early as “Ching Chime,” there is an epic quality that Tankian achieves here, particularly on this track’s chorus.  He seems to delight in continually ramping up the pacing, then alternatingly dropping back a notch to allow for some vocal breathing room and amping back up to nearly breakneck speed.  The result is an album that is both fun to listen to and engaging: there is both a beat and a message to be conveyed for anyone willing to listen.

 

  

 

 

thefearofmissingout (thenewno2)

Producer: pHd

Released: July 31, 2012

Rating:  3 / 5 stars

Top Two Tracks: “I Won’t Go” & “The Wait Around”

When I reviewed thenewno2’s 2008 debut album You Are Here, the best description I could form was that it was what I imagine Radiohead would have sounded like if George Harrison had been their frontman.  On their sophomore release, thenewno2 have maintained elements of their signature sound, yet I don’t know that this comparison holds true any longer.  They seem to have progressed, developing their sound beyond the realm of handy comparison. However, there is something missing here on thefearofmissingout that helped to drive You Are Here and enabled its strong sense of cohesion.  Still, it is rewarding to see the band stretching out a bit, incorporating new elements (rap, for instance), and maintaining an overall sense of experimenting with what will be their signature sound.

Editor’s note: this post was originally published before December 2015; the exact original date is uncertain.

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Sara Bareilles’ “Kaleidoscope Heart” (2010) – The Weekend Review

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By Chris Moore:

RATING:  4 / 5 stars

Isn’t Sara Bareilles the girl from that Rhapsody commercial?

Yes, Bareilles is the singer you were most likely introduced to through that commercial, playing her “Love Song” on a piano in someone’s living room.  He comes in and changes the track, and she switches to “Bottle It Up.”  Although it was overplayed, it was a clever commercial, and it seems to have taken Bareilles’ career up a notch.

Her follow-up effort, Kaleidoscope Heart, finds her further developing her piano/power pop sound, writing several more characteristically tight tracks, stretching out for some ballads, and even experimenting a bit.

If she hopes to hold her audience’s attention, or especially if she’d like to expand it, then it would be advisable for her to take some more risks.  The a cappella title track and the unfiltered “Basket Case” are promising starting points, though most of the songs on her record conform to the pre-established formula.

That’s not to say that it isn’t a good formula…

Bareilles has tremendous ability on the piano, and she takes to time to tinker with a harmonica this time around (always a positive, in this writer’s book!).  She has that deep, yet richly feminine voice that would have served her well in a jazz career and has made her instantly recognizable.

There are, of course, echoes of Vanessa Carlton here, but Carlton’s second album Harmonium found her burying her vocals in overly produced efforts.  By beginning with an a cappella track, Bareilles clearly has other priorities.

Some would say better priorities.  And I would agree.

Still, early reviews have criticized her (as I have, above) for not pushing the envelope, for being content to stick to that aforementioned formula.  While this is a valid criticism, and while I obviously agree to a point, I would also ask such critics to consider not only the formula, but also what she is able to do with it.

Sara Bareilles' "Kaleidoscope Heart" (2010)

Sara Bareilles' "Kaleidoscope Heart" (2010)

While I hesitate to say it is superior to her breakout single “Love Song,” “King of Anything” is an excellent track, and certainly a single-worthy effort.  The big attitude, the piano bursts, and the hand clapping all contribute to this catchy and fun song.

“Uncharted” is even better, and the perfect choice for the first full-length track.  This is arguably a better candidate for the first single, being the perfect amalgamation of vocals, piano, with strings and electric guitar layered to good effect.

These are only two of the many strong piano rock tracks throughout Kaleidoscope Heart.  There is also “Gonna Get Over You,” with its fifties rock sensibilities sped up to meet modern day standards, the uber-poppy “Say You’re Sorry,” and “Not Alone,” a plea for a lover to stay that adopts a slightly darker edge that comes complete with Alfred Hitchcock’s voice in the middle.

This is not to say that Bareilles gets stuck in one gear.  Elsewhere — most notably on “The Light” and Breathe Again” — she pulls away from her typical pop sound to embrace slower, more introspective tracks. “Hold My Heart” is indisputably the flagship piano ballad here, anchored by a chorus that will resonate in your head long after the track has faded out.

Perhaps the most interesting, if not the most entertaining, song comes midway through the album.  “Basket Case” is an unabashed confession that finds Bareilles on acoustic guitar and harmonica, adopting a traditional arrangement that is distinctive, diverging from the established sound of the album at just the right point to avoid an aura of complacency.

It is aptly followed by “Let it Rain,” another acoustic track and one that rocks out.  Whether intentionally or not, she is channeling my favorite female singer/songwriter; I’m referring to Michelle Branch, an artist I’ve been smitten with since I heard her first single on the radio.  I have since followed her career closely, from the better-than-solid debut The Spirit Room (2001) to the outstanding follow up Hotel Paper (2003).  Branch has since declined, not having released a solo album until her third, dragged along for over two years, was released this year as a six-song country EP.  Her partnership with Jessica Harp as The Wreckers was great and all, but Harp contributed the superior tracks to that effort.

I diverge into the realm of Branch’s catalog as a means of complimenting Bareilles.  Although Kaleidoscope Heart is no Hotel Paper, “Let The Rain” is a Branch-esque song done better than Branch can manage herself these days.  I predict nothing but increasing excellence from Bareilles if she is able to keep her independence by writing her own songs (not even Branch did that on either of her albums) and playing her own instruments, even if it is an acoustic track that takes her away from her trademark piano.

For now, Kaleidoscope Heart is an above average sophomore effort, and expresses the vast potential that I can only hope she will have the fortitude to make good on.  Since it’s become painfully clear that Michelle Branch will not be this generation’s premier female rock singer/songwriter, I’m hearing more and more reasons to cast my lot with Sara Bareilles.

Editor’s note: this post was originally published before December 2015; the exact original date is uncertain.

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(#31-50) – The 50 Best Rock Albums of the Decade, 2000-2009

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By Chris Moore:

With only two days remaining in this decade, I’ve finally completed The Weekend Review’s take on the fifty best albums of the past ten years.  I’ve added the modifier “Rock” albums in order to purposely separate out the other genres currently taking up spaces on many of the end of decade lists.  The albums you will see here stretch across a wide range — from acoustic rock to alternative/indie rock to grunge rock and many shades in between – but what these works all have in common is that basic rock sensibility, namely a songwriter or band with guitars, bass, drums, and words and music of their own creation.

I had originally planned to post a top thirty list, but there were just too many (as you’ll see below) great albums that deserve ranking.  And indeed, this has been a difficult — but enjoyable — task, pouring through my iPod selections and stacks upon stacks of CDs from the decade.  I greatly enjoyed discussing and debating where certain albums should fall, and I was introduced and reminded of not a few by my close friends.  Perhaps the most difficult part was attempting to remove my bias, wherever possible, from my final rankings.  I even had to add the honorable mentions note, highlighting two albums that I could not in good faith rank higher than even one on the list above them and yet felt strongly about their quality.

With that, I enthusiastically thank those people who humored my desires to discuss and debate the greatest music of the decade, and I hope you will enjoy this first installment of the list.  The next ten, with annotations included for each album, follow below.  And, of course, please leave your comments, criticisms, and even your own lists — I’d love to read and consider them!

31) Get Behind Me Satan – The White Stripes

32) Binaural – Pearl Jam

33) The Thorns – The Thorns

34) Rebel, Sweetheart – The Wallflowers

35) In Rainbows – Radiohead

36) Little by Little… – Harvey Danger

37) Reptile – Eric Clapton

38) On and On – Jack Johnson

39) Elephant – The White Stripes

40) American IV: The Man Comes Around – Johnny Cash

41) A Ghost is Born – Wilco

42) Riot Act – Pearl Jam

43) The Wind – Warren Zevon

44) Songs for Silverman – Ben Folds

45) The Ruminant Band – The Fruit Bats

46) (Breach) – The Wallflowers

47) Snacktime – Barenaked Ladies

48) More Than You Think You Are – Matchbox Twenty

49) Wildflower – Sheryl Crow

50) Sea Change – Beck

Honorable Mention

51) Here & Now – America

52) Transatlanticism – Death Cab for Cutie

Editor’s note: this post was originally published before December 2015; the exact original date is uncertain.

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Counting Crows’ “August and Everything After” (1993) – The Weekend Review

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By Chris Moore:

RATING:  3.5 / 5 stars

If you’re compiling a list of the best debut albums by nineties rock bands, August and Everything After certainly deserves a place beside other great first releases like Cracked Rear View (Hootie & the Blowfish) and Gordon (Barenaked Ladies).

The question is, of course, just how high it should place.

There is no question that Adam Duritz and company establish a characteristic sound on this album, a sound that formed a solid foundation for their career.  Duritz’s vocals are such an important component — perhaps the key component — of the band’s sound that the instrumentation and background vocals have very little wriggle room to achieve a fitting mix.  In that sense, August and Everything After highlights the configuration that has clicked: a largely acoustic arrangement with subdued electric guitars.  mandolins, and the Hammond B-3 filling in the gaps in all the right places.

As a band, the Counting Crows strike the rare balance between sounding as if they are playing off the cuff and as though every note is planned and purposeful.  Steve Bowman’s drums seem to be the pin holding all the other aspects together, rising and falling in tempo and volume as each song unfolds.

What holds this album back from true greatness is its adherence to this arrangement.  On first listen, several of these songs could blend together in the listener’s memory, as the band seems more concerned with stretching out and getting comfortable than ripping any of these songs apart and driving them home.

Counting Crows' "August and Everything After" (1993)

Counting Crows' "August and Everything After" (1993)

Still, there are some absolute gems here, and Duritz clearly established himself as one of the most unique, interesting, and versatile vocalists on record.  “Round Here,” for instance, is the perfect specimen of a Counting Crows track, a moving song that set the bar high for all of their songs to come. 

On “Omaha” — a song that always conjures BnL’s excellent “Straw Hat and Old Dirty Hank for me — they take it up a notch.  “Mr. Jones” provides the proof that the Counting Crows were destined for radio hits, if on their own terms.  This is no cookie cutter pop song; instead, it settles in at some points and rocks out at others.

Later, Duritz and company treat the listener to two gems, “Rain King” for those looking for an infusion of rock and “Anna Begins” for those more inclined to the heartbreaking beauty that few songs pull off so poignantly.

After this, August and Everything After requires patience to fully appreciate its purpose.  There are some standout deep tracks like “Perfect Blue Buildings” and “Time and Time Again,” but these songs would probably benefit from having a minute or so trimmed off.  And this is not my pitch with A&R in mind, hoping to appeal to the masses.  Rather, I have to believe that if a song doesn’t offer something significantly different or compelling for the listener after three minutes or so, then it’s time to reign it in.ZZZMARKE

“Sullivan Street” needs not fall under scrutiny, though: this is a flawless deep track that deserves all four and a half minutes of its duration.

The remainder of the album suffers a bit from the self-indulgence most prevalent here on the final two or three tracks.  There are some moments of brilliance, and yet at other times, you might be left wondering when the song will be over.

Perhaps mine are the antsy rantings of an impatient man, but I’d like to believe not.  And I have a great respect for this album.  After all, it is a debut, and one that is imbued with such honesty, passion, beauty, and potential that there must have been no question of the great work that was to come from this young band.

(To be certain their follow-up release, Recovering the Satellites, more than makes good on the promise implicit in that aforementioned potential!)

Editor’s note: this post was originally published before December 2015; the exact original date is uncertain.

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