Brown Eyed Girl
Brown Eyed Girl
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Written by admin on July 20th, 2009 with no comments.
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July 20th, 2009
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April Uprising
April Uprising
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April Uprising Closer To A Downfall For JBT
I first heard the lead single One Way Road a few months back and was surprised by how different of a sound it had, even compared to Grand National. When Grand National came out, fans began thinking that John Butler was getting too commercial and mainstream. While that may be the case, I saw Grand National as more of a progression of their everchanging sound, and although Im still not sure if I prefer it to either of the earlier albums, Grand National still holds it’s own as a great album and remained true to JBT’s sound and messages. I cant say the same for April Uprising.
What initially drew me to JBT and had them become one of my favorite current bands was the originality of the music, the inspirational lyrics, and the power of John Butler making you believe in the message of every song. On April Uprising, all of that is nearly non-existent. The musicianship is more simple & less unique than its ever been, the lyrics feel generic and uninspired, and on only a handful of songs does Butler’s soul feel like it is attached to the music. That might sound odd, but that’s how it feels when listening to all of his first 3 albums, and much of this album almost feels like JB singing other people’s songs without that fire and passion. On To Look Like You, Butler says “Gonna sell right out to the great white dream ‘cos I too want to be a beauty queen.” Only JB knows if he actually sold out, but despite the mostly cliched content of this particular track, Butler has some of the best lyrics on the album with “just a teenage girl sitting in my room with the bullet for a mirror looking for a broom”.
Although the foundations of the house that the John Butler Trio built are still apparent at times, this remodeled version – on multiple levels – is not as good as the original. Instead of Funky Tonight, there’s Close To You. Instead of Peaches & Cream, it’s A Star Is Born. There’s no Treat Yo Mama, but there is One Way Road. Instead of What You Want, this album has Steal It. On this album, To Look Like You takes the place of Good Excuse. Instead of Hello, there’s Johnny’s Gone. JB has another ode to his wife with Fool For You, but it’s certainly no Daniella. The themes of some songs on April Uprising we’ve heard before, but all of them have been done better previously. There’s a reason I couldn’t compare any songs from April Uprising to any on JBT’s debut Three: it’s because JB has become so lyrically removed from that album, they’re incomparable. The human behaviors, environment, and politics that Butler has made a career singing about are rarely seen on April Uprising, and when they are, they usually dont ring as true.
For all the negatives Ive described about this album, they mostly come from the high standard JBT has set, so I still think April Uprising deserves 3/5 stars. Revolution seems like a better closing song than opener (especially since they cut what sounds like a mounting jam off at the end), but its still one of the best songs on the album and one of the few times Butler sings like he has personal interest in what he’s saying. Like Revolution, it’s not surprising the other highlights – Take Me, Ragged Mile, I’d Do Anything, Gonna Be A Long Time – are the songs where JB sings with passion and have that sound that is undeniably JBT. Despite sounding like the Red Hot Chili Peppers had a cameo track on the album, JBT pull off Dont Wanna See Your Face with ease and make you wish this album had more songs like it. However, outside of Johnny’s Gone and One Way Road, the other 6-7 songs are disappointing, generic, and forgettable. The fact that none of JBT’s previous albums had more than 1 song I didnt really like, yet on this one it’s nearly half of the album, is quite alarming. If you have yet to get the album, I recommend getting it on iTunes because the 3 bonus tracks they offer – Gone, Only You, and Satisfy – are all better than the 6-7 forgettable songs on April Uprising, and make me wonder why they werent included on the actual album in the first place. Some have complained about the production of the album, but I think it sounds fine and would hardly call the album overproduced. I know some people will like this album more than me, but in no facet is April Uprising near as good as any of JBT’s first 3 albums (Three, Sunrise Over Sea, and Grand National), and that is just the plain truth.
Like Ben Harper, another of my favorite musicians whose career until recently revolved around lap slide guitar, John Butler’s classic slide guitar is noticeably missing on much of April Uprising. I think both artists are getting away from something that made them so special, unique, and separated them from the “musical pack” in the first place, but Harper has proved his last few albums that he can still make very good albums without much slide guitar, which is something I cant say John Butler accomplished on this album. If you asked me 5 years ago that on a day when a new John Butler Trio album was released it wouldnt be my favorite album, I would’ve called you crazy, but that happened on April 6th, 2010 because the other album I picked up (and highly recommend) was Dr. Dog’s Shame, Shame. It’s my favorite album so far in 2010, something I had hoped I could say, but sadly cant, about April Uprising.
This Uprising still leaves me on the fence
Ever since Grand National (which I feel is flawless) I have been anticipating what JBT would do next. So far reactions to this album have been expectedly polarized with one camp loving the more pop friendly direction and others turned off by it. Both camps have valid points and personally this album leaves me (for the time being) somewhere in the middle. First the positives, although the first song “Revolution” doesn’t quite get the album fired up the way I had hoped, the next several songs (2-8) do a great job of bringing the upbeat, funky vibe. I was concerned about the prominent pop sound of “One way Road” when it came out, but I quickly grew to dig it. “C’mon Now” is a blast, “Ragged Mile” harks back to early JBT with its celtic banjo sound and “Close to You” is a great rocker despite having a whiff of Blue Oyster Cults “Don’t fear the Reaper” to it. Also “Don’t Want to See Your Face” is funky and fun. Up to this point in the album I’d give it a thumbs up. Yes, it does have more pop hooks than any other JBT album, but what it seems to lack in substance it makes up for in style with its upbeat, funky rockin fun sound. The production is very clean but not overdone. The drums really sound great and keep that JBT tribal sound going. This doesn’t sound quite like mainstream pop, but retains that rootsy sound of 3 guys playing together. However, I do sorely miss the warm upright bass in previous albums which seems to be replaced for the most part with a standard bass sounding metallic and fails to give it that heavy deep sounding bottom.
The Negatives become more apparent in the second half of the album (9-15). After being convinced of the new sound with the energy of the first half, the second half leaves you kinda high and dry. It’s too heavy in midtempo rockers that aren’t bad, but just aren’t great. I read alot about how John Butler wanted “all killer-no filler” but with 15 tracks there seems to be more filler than ever and I gotta believe that trimming 2 or 3 of the latter songs would have made this a much tighter album. In contrast I believe Grand National truly had no filler and all the songs flowed seamlessly in style and tempo. It rocked, jammed and chilled in all the right places. Instead April Uprising stalls out in the end. “To look like You” is OK and “Gonna be a long time” attempts to recapture the reggae vibe done so well in previous albums but doesn’t quite measure up here or bring back the energy of the first half. I had REALLY high hopes for this album. Maybe TOO high. I wanted to get that WOW feeling I had after Grand National. To me GN was the perfect bridge between the early jam/political sound and being pop friendly without selling out. JBT is never going to be the uncommercial piss and vinegar group they were in the very early days, you just can’t keep playing that card to that degree. Many called GN a sellout and for some this album will confirm it but I still wouldn’t go that far. This is more modern rock with a rootsy sound but most (though certainly not all) of the JBT sound is present. Overall April Uprising seems too top heavy with all the flash in the first half which can only cause the whole thing to topple over. I’m still hoping the later songs will grow on me and maybe I’ll be able to connect more to the lyrics as I learn and understand them. But for now, its the seemingly inevitable let down which concerns me about JBT in the future. Afterall, first go the dread locks, the lineup changes, the upright bass is all but gone…but I still love JBT and I’m optimistic about letting these songs grow on me and especially hearing them live (which is the true JBT test).
A failed transition
First of all, I try my best to never compare someones new album to their old albums. I believe doing that gives the listener an initial negative opinion of the new album, which is unfair to the artist who changed up their sound. Artists need to change their sound to present their new creativity and ability, and it is not fair to judge their new material in terms of their old. But sometimes when an artists’ transformation is so terrible, it is impossible not to look back and regret what an artist has become. Now after saying that, I hate April Uprising and it is very hard not to compare it to the impressive albums that he has made in the past. The creativity is missing, the progressions are identical to Third Eye Blind’s hit singles (which is a embarrassing thing for John), and the lyrics are comical. Songs like One Way Road, C’Mon Now, Close To You, and To Look Like You lack emotion and are just overall terrible. They show many similarities with today’s mainstream music and completely lack everything that drew me into John. There are a few highlights of the album, but they are somehow mixed in with the garbage. Revolution, I’d Do Anything, and Take Me are good songs, but they still lack the previous emotion and unique guitar playing that I loved about the Trio. The album lacks direction, a story line, and emotion and is not worth purchasing.
Written by admin on July 20th, 2009 with no comments.
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I Can’t Wait (American Mix)
I Can’t Wait (American Mix)
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Written by admin on July 20th, 2009 with no comments.
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Shop for hats at the best-stocked Green Bay Packers Shop on the Internet
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Think about Green-Bay-Packers-Shop.com when you think of shopping for Green Bay Packers items on the Internet. Whatever you’re looking for, you’ll find it at the ‘net’s best-stocked Green Bay Packers Shop. This store absolutely has it all.
Tags: malls in US, Market Place Shopping Center United state, General Growth malls, list of shopping malls in US, General Growth Properties
Written by admin on July 20th, 2009 with no comments.
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The Rhumb Line
The Rhumb Line
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A perfect debut
I’ve been following this young band from Syracuse since their initial demo EP. Two years of endless touring have helped to fine tune their catalog of songs into genuine gems. Even tracks that previously surfaced on their self-titled EP like “Can You Tell” have been transformed here with stronger arrangements and an added emphasis on backing vocals from string player Alexandra Lawn (who compliments the lead vocals by Wes Miles perfectly on several cuts).
Ra Ra Riot have had some extreme ups and downs over the past few years, but every experience, good and bad, has given depth to their musicianship and helped to inform the spirit of this incredible debut. It’s an impressive collection of songs and I look forward to following them for many years to come.
Holy, violins, batman.
It’s a shame. Ra Ra Riot is likely to remain in the shadow of Vampire Weekend because they released their debut full length second. There are similarities with Ra Ra Riot and Vampire Weekend and most of it stems from both lead singers sounding identical. The shame from that is that Ra Ra Riot is so much better than the comparable Vampire Weekend. Their production is more sound. Their songwriting is deeper and more meaningful. Their execution is flawless. Their album is more consistent and cohesive. Regardless, for those who take notice of this wonderful band and their debut LP, “The Rhumb Line,” will no doubt benefit from their clement symphonies.
The album starts of proper with “Ghosts Under Rocks.” This is my personal favorite song of the album from all the “oooohs”, the frantic guitar strumming and the melancholy violins. The vocals are enchanting and the drumming is not slighted. “Dying Is Fine” shows everyone Ra Ra Riots obvious post-punk scene influence which is native to their hometown state, New York. A sound similar to The Strokes, albeit much more diverse and subsequently more interesting. On “Oh, La” there are more pounding drums and melancholy violins which take possession of the listeners free will and paralyze any attempt to divert attention from its beauty.
If I’ve mentioned violins and drums in one song then I’ve mentioned the essence of all the songs from this album. Every song is latent with violins, guitars, wonderful drums, sometimes with cellos and sometimes with obos. Don’t dare let that repetitious proclamation deter you. This album never tires from beginning to end. Every song is a good listen and it’s fairly easy to find some songs that stand out greater than others. This album definitely stands out more than others in this wonderful year of indie music.
The Rhumb Line
On Ra Ra Riot’s debut album, “The Rhumb Line,” the band plumbs the depths of indie music’s oldest and newest influences. The record sounds something like a mix of Vampire Weekend and The Cure with some of the rock-oriented production values of Wolf Parade. As the other reviewer stated, the album will likely be stuck under the shadow of Vampire Weekend’s successful debut self-titled LP, simply due to the fact that it came out first, and indie music fans are often the first to cry copy-cat. However, “The Rhumb Line” is a varied and engaging listen, and though the similarities are certainly there between Ra Ra Riot and Vampire Weekend, calling this a mere clone would not do the band justice.
The first track opens with some of that Wolf Parade flair mentioned at the beginning of this review, but quickly opens into a sweeping arrangement of strings, building tension as the drums create a frantic, harried pace. The second track apes a very specific Cure sound in the guitar tone, but lyrically and stylistically, the song is unique and fun, finding a good blend of symphonic pop and new-wave swagger. The album addresses the typical moods of a love-lorn indie frontman, and so while the lyrics may have little new to say on the subject, they don’t detract from the music or the album as a whole.
All in all, it’s a record of lovely, heartfelt pop, and there’s nothing wrong with that.
Written by admin on July 20th, 2009 with no comments.
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Halo
Halo
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Too Many Halo’s
It is a good and catchy song.
But after hearing it after quite a few times, you have to say, ” too many halo’s”
Written by admin on July 20th, 2009 with no comments.
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Help Me (from Music from the Thin Blue Line)
Help Me (from Music from the Thin Blue Line)
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Written by admin on July 20th, 2009 with no comments.
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Beer and the Belly
Beer and the Belly
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Written by admin on July 20th, 2009 with no comments.
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Crazy Love (Amazon MP3 Exclusive Version)
Crazy Love (Amazon MP3 Exclusive Version)
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Solid Set of Standards & Classic Pop Songs
The old-time saying “if it ain’t broke, don’t fix it” may apply to traditional pop crooner Michael Buble. Indeed, Michael Buble’s albums have remained conservative, maintaining the sanctity of classic standards and pop songs. 2009’s follow-up 2007’s extremely successful Call Me Irresponsible does maintain a sense of classicism that has come to define Buble, but there are some risks taken this go around. Sure, he doesn’t ruin or over interpret the classics, but as far as arrangements, orchestrations, and vocal nuances, Buble keeps the classics ‘fresh’ while also keeping them ‘classic.’ The album isn’t perfect, but it is consistent and bodes well to keep Buble’s career afloat. Buble never compromises himself on this album.
Opening with “Cry Me A River”, instantly, one hears that Buble wishes to exploit a slightly more adventurous side without ‘rocking the boat’ too much. The orchestrations here are different but brilliant and add just the right amount of change without ruining the sanctity of the classic standard. Buble, as always sounds top-rate as a vocalist.
“All of Me” scales down the experimentation of “Cry Me A River”, seeking to balance between ‘innovation’ and ‘classicism’. While the performance is another ‘home-run’ for Buble, it doesn’t trump the excellent, cutting-edge “Cry Me A River”. “Georgia on My Mind”, on the other hand, finds Michael Buble at his very best, bringing new, pitch-perfect nuance to the classic that helped to shape Ray Charles’ career. “Crazy Love”, the title track continues a hot streak for Buble.
Perhaps most unique is “Haven’t Met You Yet”, which most likely will received mixed reactions from Buble fans. Personally, I think it is a departure for Buble and lays well, though it doesn’t necessarily trump Buble’s beautiful interpretations of standards and classic pop songs. Good, but no my favorite. “All I Do Is Dream of You” continues to differentiate from previous Buble album. It does so convincingly, given a soulful-sound that hearkens the 1950s.
“Hold On” proves to be a clear valedictory performance on Crazy Love, finding Buble at his most sensitive and best. The acoustic guitar here at the forefront gives this track more a modern pop tinge as opposed to hearkening back to classic pop. The strings are beautiful orchestrated here.
“Heartache Tonight” contrasts the slow, sensitive nature of “Hold On”, solidly, though it is the Sharon Jones and Dap-Kings feature on “Baby (You’ve Got What It Takes)” that steals the show. Funky and just overall sensational, “Baby” is certainly like nothing else from previous Michael Buble albums. “At This Moment” finds Michael Buble among the bluesiest I’ve ever heard. Produced by the phenomenal pop producer David Foster, it is a showstopping performance by all means.
The album closes strongly with “Stardust” and “Whatever It Takes (feat.Ron Sexsmith)”. Neither tracks captivate the way that “Cry Me A River”, “Georgia” or some of the ‘best of the best do’, but both are solid and above par.
While ‘Crazy Love’ isn’t revolutionary pop per say, it does find the crooner extending his scope slightly, which is a positive thing. 4 stars.
Love this cd but…
I really do enjoy this cd. Michael Buble is extremely talented as a performer and a vocalist and it is pretty hard for him to do wrong. But he does hit some definite missteps here. When I played it for the first time I was rather puzzled wondering what sort of cd he had tried to put together. It was very different from his others and I had to play it another 5 to 6 times before I really formed my true opinion.
Michaels’s previous cds have all emphasized pop standards sung with class and quality in the big band style. He would also throw in a couple of redos of more current songs for fun. He also started to venture into the pop genre with his singles HOME and EVERYTHING. He continues his venture here with HAVEN’T MET YOU YET which seems to be getting mixed reviews. I first found it rather simple but find it to be a fun, playful song on this new cd.
It is obvious that Michael is trying to go more pop on this cd and the result will end up in mixed reactions from fans. What truly stands out is that the styling and interpretations he applies to most of the standards here are just off the mark. CRY ME A RIVER is an emotional song in itself with its heartwrenching lyrics. Rather than emphasize the emotional delivery he has a loud orchestral intro worthy of James Bond lead up to his vocal. It just doesn’t work and is over the top big time. The other is STARDUST sung with NATURALLY 7. I felt like I was listening to the Andrew Sisters or even Lawrence Welk. This was such an old fashioned sappy interptretation that has no emotional value. This song also could have been perfect for his vocal gifts.
So he is going pop and the cover of the cd is CRAZY LOVE, a very old song that has been sung by so many and is pure pop candy. He sings it so simple and adds nothing to it. There is no Michael Buble magic. It is a simple filler song on the cd yet he finds it worthy of being the title. I also was excited when I saw he would be singing the pop classic AT THIS MOMENT. Again, he gave a simple rendition of a song that asks to be played with dramatically. I also found the orchestration on YOU’RE NOBODY TILL SOMEBODY LOVES YOU to drag. I kept waiting for it to build a little but this was another rather boring rendition.
What works for me here are ALL OF ME, GEORGIA ON MY MIND, HOLD ON and the real fun HEARTACHE TONIGHT. I went into the flaws I founds so extensively only because this is Michael Buble a singer with vocal and emotive abilities of the highest caliber. There is nothing I hate here or need to skip over. I just wanted to be honest with my review. And the honest truth is even with these flaws I play the cd over and over and really love the new single HAVEN’T MET YOU YET. I even laugh at the over the top drama to CRY ME A RIVER. I really am a hard core Buble fan and give him high kudos for trying to venture out and try different things on this cd. Some small missteps don’t take away from this being immensely enjoyable. Sadly, if you really want Michael singing the standards with the big orchestra this cd might not be to your taste. But for those who appreciate the true talent Michael Buble has it will be lots of fun to go on this new venture with him.
A Bublé fan, but disappointing
I really like Michael Bublé. I think he is one of the most talented singers today with a fantastic and exciting musicality. Unfortunately, this album comes across as just fluff. First of all, the engineering of the recording makes everything sound electronic and processed, particularly the brass and strings. The performances are tight, but this type of recorded sound is so grating and unnatural.
As to the material, I think Michael is really at his best when the voice speaks for itself. This album is full of over-orchestrated, kitschy arrangements. Cry Me a River is just bizarre. The highlights for me are songs like “All of Me” and “Georgia.” The new songs aren’t particularly memorable or as catchy as previous albums.
Less is more when it comes to great songs. I really hope that Michael returns to the kind of arrangements and music where he invited the listener in and the natural beauty and musical talent spoke for itself.
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