MUSIC
Section by Jeb D.
RECOVERY
Eminem
From Relapse to Recovery, with help along the way from DJ Khalil, Rihanna, Lil Wayne, and Pink, among others. Much-anticipated, likely to smash a few sales records, and given that, props to Mr Mathers for finding time, amid the wholsale rummaging through the attics of everyone from Ozzy to UNKLE and slagging off of pop stars and gay folk, to be fairly upfront about dissatisfaction with himself. Plenty of pop stars bemoan the toughness of “life at the top;” on tracks like “Going Through Changes” Eminen’s occasionally willing to point the finger at himself. Hope for the boy yet.
SCREAM
Ozzy Osbourne
Odd that the most remarkable thing about Ozzy’s new album isn’t the fact that the hard-livin’ SOB is even still making records, but the dramatic replacement of longtime guitarist Zakk Wylde with ex-Dream Evil axeman Gus G. Granted, in Ozzy’s brand of metal, concepts like change or progress aren’t necessarily desiderata, but if you split with a guy who had such an impact on some of your most successful work, it’s nice to replace him with someone who brings a little extra something the party, with a sound that’s a bit bigger, bolder, and less busy. Ozzy? Yeah, he’s here. He sings about people screaming and dying. Crucifixion ensues.
HOW I GOT OVER
The Roots
Hobnobbing with Fallon may not have blunted the band’s musical sensibilities, but it’s certainly not hurting the celeb guest factor, with contributions from Monsters of Folk (on a new version of “Dear God,” here called “Dear God 2.0”), John Legend, Joanna Newsom, and a bunch more. Legend weighs in on a reworking of his “Again,” as well as “The Fire” (from their Winter Olympics performance), and I’m frankly curious to hear his upcoming Roots-produced covers album. Till then, have some socially conscious hip-hop: it’s like rhythm fiber: good for you, and keeps the groove flowing.
MOSES ON A SNAIL
Robert Pollard
OK, I’ll admit I haven’t heard it yet. But it needs to be featured here for two reasons: 1. It’s Robert Pollard; half as clever as he thinks he is, but even that would make him twice as interesting as most of his lo-fi contemporaries. 2. That is one great album cover.
Other Noteworthy 6/21-22 Music Releases
Cyndi Lauper, Memphis Blues. For the first half of the album, you adjust to Lauper playing it more or less straight, with support from people like Allan Toussaint and Charlie Musselwhite, and if things aren’t very exciting, the listening is pleasant. Then she teams up with Ann Peebles, and you remember what real blues singers sound like.
The Chemical Brothers, Further. The usual spellbinding trance and psychedelica, and when these guys write about a horse, they darn well feature one on the vocal track.
The Derek Trucks Band, Roadsongs. That life on the road, it’ll kill ya. But before ya go, how ’bout one more round of “Key To The Highway.”
The Constellations, Southern Gothic. Kind of an “on the nose” title for an album that’s wallowing in the mythology of down and outness in Atlanta. And if you’re going to come off as Tom Waits lite, covering “Step Right Up” isn’t a great idea.
Front Line Assembly, Improvised. Electronic. Device. Angry. Grrrr.
Marc Almond, Variete. Says here that this is “both a dramatic celebration in song of the thwarted glamour of the fag-end of the show business of yesteryear and a brave and revealing body of autobiographical songs.” Uh huh. And I wonder how many of his fans know exactly what “fag-end” means.
Jason Moran, Ten. Probably the album I’m most looking forward to hearing this week: anyone who can write a song around Hendrix’ feedback is the kind of thinker jazz needs more of.
Ariel Pink’s Haunted Graffiti, Before Today. “Butt-house Blondies,” eh?
Vanden Plas, Seraphic Clockwork. What I find most amusing about bands that litter their catalog with titles like “The Sound of Blood” or “The Final Murder” is that musicians, as a group, are about the least scary or violent people I’ve ever known.