MUSIC
Section by Jeb D.
APHRODITE
Kylie Minogue
I suppose I could spend a paragraph or so detailing the value of cheery, disposable pop. I could express admiration for the perseverance and positivity of this perky thrush from down under for the consistent level of her output over an amazing period of time; she was making hits when most of today’s pop stars were still singing along with Elmo. I could single out “All The Lovers” as the track to fill the dance floor at your next party, or detail all the various bonus video and live stuff on the Special Edition. But honestly, I was just looking for an excuse to post that picture.
CUSTOM BUILT
Bret Michaels
In case anyone doubts that mainstream country and hair-metal pop have already made the beast with two backs, I present this album from that guy that didn’t quite die. I mean, good for him, I have no problem with his making a living, and this album is aimed right at the people who kept hitting “refresh” on TMZ a few months back to see if he’d pull through. It plods along, dispensing clichés both lyrical and musical with an admirably straight face. A couple lite-metal tracks, big-noise modern country ballads, guest appearances by people from Miley Cyrus to that guy from 3 Doors Down. But honestly, if there were more interesting albums coming out this week, and if Michaels hadn’t had a legitmimately tough time, I’d probably have dismissed this with the same one-sentence snark I laid on Kenny G last week.
BLUES, BALLADS, AND FAVORITES
Jimmie Vaughan
Been a busy few weeks on the white-boy blues front… and it says something about the state of things that, at 59, Vaughan is the youngest of the crop. This is all nice, tastefully shuffling stuff, but there’s a reason that Vaughan wasn’t the lead singer of the Fabulous Thunderbirds (hint: that involves being able to sing), and an even better reason that he was eclipsed by his kid brother: Stevie Ray took blues guitar places that hadn’t been much explored since Hendrix; Jimmie likes to boogie. I still give the 2010 white-blues nod to Elvin Bishop, but if you’re in the right mood, Vaughan will do you better than Steve Miller (or, god help us, Cyndi Lauper).
ALIVE
Ed Kowalczyk
For the longest time, I didn’t realize there was actually a band called “Live”-I kept thinking I was seeing listings for new live albums by other artists. Anyway, this chap seems to be the driving force behind them, and if this is what they sound like, no wonder I was confused: if it doesn’t actually sound more generic than Bon Jovi, it’s not for want of trying. It says here that, for a couple of years, Kowalczyk “felt no urgency to write songs or have anything to do with music for that matter.” I can’t possibly top that.
Other Noteworthy 7/6 Music Releases
Big Boi, Sir Lucious Left Foot… The Son of Chico Dusty. Not having had a chance to preview this one, I don’t have much of an opinion beyond the expectation that some Outkast fans may have underestimated this half of the duo.
How to Destroy Angels, How to Destroy Angels. Is it just the prospect of the upcoming Reznor-David Fincher collaboration that now makes this EP feel a bit anti-climactic? I’d say it’s more the rather conventionally breathy vocals that his missus lays over these driving tracks.
Rescues, Let Loose the Horses. These folks are evidently the go-to songsters when Grey’s Anatomy need to score a montage; their other credits seem to include One Tree Hill and Private Practice, and if this level of faceless pop is indicative of those shows, it’s just as well I’ve never seen any of them. Ideal for those who find Fleetwood Mac a bit too quirky and difficult.
Texas Hippie Coalition, Rollin’. These good ol’ boys like to compare their music to “Lynyrd Skynyrd, Molly Hatchet, ZZ Top, Waylon Jennings, Willie Nelson… and Pantera.” Who am I to argue?
The Cat Empire, Cinema. If you’re looking for some quirky world-beat pop from Down Under to tide you over till the new Crowded House, this may serve. But I’ve heard the new Crowded House: I’d suggest you wait. It’s only another week.
A Plea For Purging, The Marriage Of Heaven And Hell. Considering their stated plans for “The Eternal Female” (rape, specifically), I hope these fellas aren’t contemplating actual “Marriage” anytime soon.
Walter Trout, Common Ground. You guessed it-more white-blues guitar. More imaginative than Jimmie, rocks harder than Cyndi.
Kelis, Flesh Tone. The diva as auteur, with the confidence to tackle subjects like “Home” and “4th of July” with the confidence that she has something to add. I was going to try and figure out why there was a full band playing on a song called “Acapalla,” but my toes were too busy tapping to worry about it.
Thieves Like Us, Again & Again. The woman on their last album cover was passed out drunk; the woman on the new one is doing card tricks with porno cards. Plus, she has great hair. What? Isn’t this music designed to make your mind wander? Sure the way it sounds.
Smash Palace, 7. Power pop that works intermittently, and since power is always easier to produce than pop, the guitars stick with you longer than the vocals. Often catchy, a bit by-the-numbers, and if you’re going to borrow from bands like The Kinks, you might think about not calling one of your songs “Dead End Street.”