ALBUMS OF THE MONTH:
The Scene of the Crime, by Bettye Lavette
Detroit’s Bettye LaVette wastes no time in making a statement on her latest release. “I’ve been this way too long to change now,” she declares with a voice that leaves no room for negotiation, “you’re going to have to take me like I am.” Over the ensuing nine tracks, LaVette drives her point home with a voice that is compassionate yet uncompromising. Whether taking a lover to task on “You Don’t Know Me at All” or reflecting back on life in the Elton John/Bernie Taupin song “Talking Old Soldiers,” LaVette’s explores the dark edges of each song’s protagonist with raw emotion and depth. LaVette finds the perfect co-conspirators in the Drive-By Truckers and Spooner Oldham, who back LaVette with the perfect blend of simmering blues and greasy Southern rock. Crank this one up to 11.
THE PLAYLIST:
Suckin’ Honey, Ben Arnold (from the Ropeadope Records release Nevermind My Blues)
On this track and throughout his latest release, Philadelphia’s Arnold finds a great soulful pop groove. Arnold’s piano anchors the track but its his bluesy voice that bluesy voice that gives the track exceptional character. This is foot-tapping music at its finest, even for the rhythmically challenged.
Is There a Ghost, Band of Horses (from the Sub Pop Records release Cease to Begin)
The indie rockers lost a founding member and relocated from Seattle to South Carolina prior to recording their sophomore effort. The band emerges with nary a scratch on this solid release. Singer Ben Bridwell’s airy vocals stand in sharp contrast to the dense layered guitars to give the song a rich intensity.
July 4, 2004, Jason Anderson (from the ECA Records release Tonight)
Anderson has clearly studied at the Springsteen alter. His songwriting has the ambition if not the depth of Springsteen’s early career efforts. It’s the performances, however, that set Anderson apart. One spin of this track and you’ll hear the exuberence and freewheeling celebration that one would expect from a group of friends gathering for a late-night jam. You’ll be hooked long before Anderson even cries out, “It’s true, it’s true when I sing my heart out.”
Take Me Home, Brother Ali (from the Rhymesayers release The Undisputed Truth)
I’ve never been a big fan of hip-hop but there are certain artists that have captured my attention. Brother Ali, a SXSW discovery, is among them. Underlying his raps are some incredible hooks and hypnotic rhythms, most notably the maximum R&B sway of this track.
San Jose, Joe Purdy (from the self-release Take My Blanket and Go)
Harmonica and tamborine lead the charge on this ambling roots track from Purdy’s latest self-released album. The Los Angeles musician mines a distinctive folk roots sound with a swirling blend of organ and acoustic guitar surround Purdy’s half-spoken lyrics.
Game of Love, The Redwalls (from the Mad Dragon Records release The Redwalls)
The Chicago-based quartet started with a traditional Beatles sound but have expanded the repertoire to include vintage Kinks. Despite displaying their influences proudly, the band injects their songs with an exuberant freshness with stellar harmonies leading the way. The catchy chorus bears a slight musical resemblance to Blondie’s “Heart of Glass,” lending to the air of familiarity.
Stop Me, Mark Ronson (from the Columbia Records release Version)
DJ turned producer Ronson invited some collaborators to record cover versions of a diverse collection of songs. This track, a Smiths tune, gets a classic R&B overhaul, complete with members of the Dap Kings (see Sharon Jones & the Dap Kings), plus a perfect segue into the Holland-Dozier-Holland classic “You Keep Me Hanging On.” Credit goes to Ronson, however, who is a master of constructing a beat.
FROM THE ARCHIVES:
Watch Chain, Chris Mills (from the Sugar Free Records release Kiss It Goodbye)
Through the virtues of the random playlist, I was recently reminded of the Chicago-by-way-of-Brooklyn Mills’ songwriting prowess. Like Ray Davies or a rootsier Paul Westerberg, Mills creates classical pop masterpieces that have well-formed lyrical conceits. On this track from 2000, Mills reflects on a failed relationship, “I have changed the locks on my heart since you were here and now that key you’ve got will only unlock a box of tears but I wish, yea I wish I’d saved a copy for myself because now there are places in my heart I’ll never go again.”
About the author: Mild-mannered corporate executive by day, excitable Twangville denizen by night.