When the Beatles, the Stones and The Beach Boys started to spread the seeds of drug-addled psychedelics in the music scene in the late sixties, their influence reached musicians in South America, who reshaped and repurposed the music they heard to make it their own. One of the best-known examples of this is “Tropicalia,” a 1968 album that featured Caetano Veloso, Gal Costa, Gilberto Gil, Os Mutantes, Tom Ze and Nara Leao. That disc launched a groundbreaking multimedia movement that resonates to this day. Sadly, there are no tracks from that album on this interesting compilation that brings together both well-known and obscure Brazilian musicians who took on the genre and mixed it with various other sounds. Many of the tracks are rare, like “Sorriso Selvagem,” a 1966 track from The Gentlemen, a northeastern Brazilian band that disappeared without a trace but that included Ze Ramalho, a highly respected artist from that country. Read the rest of this entry »
Those who expected this compilation to feature the likes of Marisa Monte, Gal Costa or even newer names like Bebel Gilberto or Cibelle will be disappointed at first—this release contains none of their songs. Instead, we are presented with few names ever heard Stateside save for Luisa Maita or Mart’nalia, who have regularly toured in the US. The disc opens with Italy-based Nossa Alma Canta’s “Bossanova,” a tune that remembers the Brazilian movement that swept the world with the help of Stan Getz and Charlie Byrd. The tune name recalls many familiar hits like “Wave,” “Desafinado” while playing snippets of familiar tunes via instrumental interludes. Read the rest of this entry »
Mike Rep/Photo: Mary Jo Bole
By Dave Cantor
As suburban sprawl began its duplicitous creep, a kid named Mike Hummel and his family took up residence in Timberlake, a region southwest of Ohio’s capital. It was the 1960s.
Hummel, better known to scum punk collectors as the titular character of Mike Rep & the Quotas, stuck it out in a place he refers to as nowhere a few times in emails and over the phone. But if it weren’t for Timberlake and his parent’s affinity for R&B and 1950s rock ‘n’ roll, the character of Columbus’ musical topography would waver differently all these years later.
In addition to his family’s good sense, though, Rep reveled in a friendship that would wind up spanning decades and countless bands.
“When ‘Israelites’ came out on AM radio, it was a Top 40 hit in America,” Rep reminisces. “To us, it just sounded like a weird take on R&B. … The first time I met Tommy Jay was at a basketball court near where we lived, and we discovered it was both of our favorite song on the radio at the time.” Read the rest of this entry »
In 2008, British soul singer Alice Russell caught the attention of critics and fans alike with her catchy “Got The Hunger” the lead single from her US debut, “Pot of Gold” (Six Degrees, 2008). She seemed to tag along with her country’s embrace of young female singers like the late Amy Winehouse and Adele, who capture the essence of American soul and use it in their own way—apparently drawing more inspiration from Motown than more current stuff made here.
On her new record, “To Dust,” Russell goes further by incorporating gospel sounds and more organic instrumentation instead of the previous disc’s predominantly electronic sounds. For instance, “A to Z,” is a powerful guitar-driven tune with smart vocals and a very catchy groove. Read the rest of this entry »
Brooklyn-based Chicha Libre started out playing covers of obscure psychedelic songs from Peru, and on this four-song EP they come full circle with a collection of inventive takes on pop tunes reimagined into the chichi format, starting with a very personal take on the “Simpsons” that expands on the TV version by adding some improvisation and a more danceable beat. They recreate Love’s classically inspired “Alone Again Or,” as a song innovated by featuring a mariachi band in the middle section, something quite uncommon in the late sixties. They also pay tribute with “Guns of Brixton” and also include “Chicha Rica,” a song that I could not trace but I am sure comes from bandleader Olivier Conan’s treasure trove. Read the rest of this entry »
A decade after her smash hit “Thank You” put this English singer on the pop map and five years after 2008’s “Safe Trip Home,” Dido reemerges with this concise album that brings together all the nuances of her style, blending folk-rock, electronica and straight-ahead pop. The album opens with the acoustic ballad “No Freedom,” whose lyrics reflect on the necessity of allowing people to have freedom within the confines of a relationship. The title track makes a playful allusion to the lover “who got away,” the sort of utopian dream-like person who many of us were unable to keep by our sides. Read the rest of this entry »
Being able to maintain punk’s enthusiasm and jittery charm while inserting a bit of harmony is a unique ability only a handful of groups have been able to achieve over the last few decades—Alabama’s Thomas Function recently hit the fever pitch before disappearing. At about the same time those Southerners properly channeled Elvis Costello, an Irish guy named Brian Kelly, who was then living in South Korea, started sputtering out pop-heavy punk gems and eventually wound up issuing a few discs for Tic Tac Totally. Amid everyone within reach of a computer staring glassy-eyed at screeds about the importance of lo-fi, Kelly’s So Cow released a self-titled long player that easily towered over the masses of garageniks, toning it down just enough to be poppy. A few years later, no one mutters word one about lo-fi and certainly, no self-respecting band tags itself with the name. So Cow had the misfortune of being lumped in with all those also-rans, but has continued to explode the confluence of sweet and tart musics. Read the rest of this entry »
Photo: Meg Bitton
“American Idol” might have brought us talent like Kelly Clarkson, Carrie Underwood and then-unappreciated Jennifer Hudson, but there were many other promising artists who ended up vanishing even if they did well on the show. While some flamed out soon and wound up playing minor parts in off-Broadway shows, some used the exposure to create a niche audience and build a solid career once the cameras were turned off.
An example of this is Ohio-born Crystal Bowersox, who was runner-up during the show’s ninth season (defeated by Chicago’s Lee DeWyze) in 2010. Signed to Jive Records that year, she released “Farmer’s Daughter,” and despite positive reviews and reasonable sales, she was dropped after RCA disbanded her label. She has since signed with indie label Shanachie Records (which also includes Ruben Studdard—another “Idol” veteran—in its roster) and is in the works to put out her sophomore album “All That For This” under the production of Los Lobos’ Steve Berlin. Read the rest of this entry »
While musicians, labels and the media in America brand and rebrand music to fit some kind of niche audience, our brothers and sisters across the pond just go ahead and bring everything together to make the best music they can from the influences they hear.
One of the most recent examples of this is British singer-songwriter Charlie Winston, who has a penchant for blending funk, soul and the classical music he was initially trained in. If you are thinking “Here comes another Freddie Mercury,” that would not be a bad comparison, but Winston is not in any way associated with glam rock. Read the rest of this entry »
Photo: Janette Beckman
Singer-songwriter Jose James has a lot of jazz in his sound thanks to the longtime influence he has had from the genre and also the experience with performing with giants like Wynton Marsalis, McCoy Tyner and others. When he first started out, he was more of a jazz vocalist with urban tendencies than anything else. As the years passed, however, he has finally found his sound, which can be described as a blend of hip-hop and R&B with strong jazz undertones.
This is evidenced by two songs from his fourth disc, “No Beginning No End” (Blue Note). “It’s All Over Your Body” opens mostly with drums and percussion, and a soft bass line joins in shortly before James’ almost whispered baritone comes in. The instrumentation is subtle (with some brass added for good measure) so the listener focuses on his voice and the message he wants to deliver, while the blues-inflected “Trouble” feels like a classic Motown-era track without sounding dated. James’ delivery is straightforward, honest and refreshingly Auto tune-free. (Ernest Barteldes)
January 30 at Lincoln Hall, 2424 North Lincoln, (773)525-2501, 9pm. $15.