Rockferry, the Welsh singer's lovingly constructed debut album, has already succeeded beyond expectations, and although Duffy may not quite be the ingénue portrayed by a clever press campaign (she nearly won a local television talent show a few years back while a single credited to Aimee Duffy is still available on iTunes) she is surely the most appealing of the current flood of young soul sirens.
The sound of someone singing herself to stardom, Rockferry is at times genuinely amazing.
Radio One's Jo Whiley chose Duffy's title track and album taster `Rockferry' as her Single of the Week in late November, further adding to the momentum. Butler was introduced to Duffy by Rough Trade's Jeannette Lee who,in August 2004 and after hearing demos recorded in this or that mate's home, became the singer's mentor and manager. Jimmy Hogarth & Steve Booker are the other collaborators on this classic-in-waiting. The title track and album opener, as atmospheric, slow-building and idiosyncratic song as you could hope for, leads into a collection of original material that some might call retro in feel (those Dusty flavours, that girl group vibe) but which Duffy herself prefers to identify as classic. Duffy is the real, unspoiled original deal.
"Warwick Avenue" lopes into action with a hint of The Temptations' "My Girl", "Stepping Stone'" s pensive intro seems to scream "Walk On By" and "Syrup And Honey" has more than a whiff of the Stax sound about it.
The comparisons with Dusty Springfield are so wide of the mark. Dusty was a much lustier performer. Yes Duffy has the same look and works in the same pop landscape Dusty strode, but Duffy's voice is much more steeped in the tone of the poppier Motown songstrels.
For Duffy, like Winehouse, is utterly immersed in classic soul music, but where Winehouse now seems blurry and damaged, Duffy is bright-eyed and bushy-tailed. Duffy is the sweet to Winehouse's sour, the blonde to Amy's tattered brunette. This is an album every bit as solid as "Back To Black", with tracks that sound like dusty soul standards.
The result is mighty good pop.
Wednesday, March 25, 2009
Rockferry
Monday, March 16, 2009
Heaven, Heartache, and the Power of Love
Trisha Yearwood offers up some memorable story songs on this follow-up to 2005's "Jasper County," infusing each tale with her pitch-perfect delivery. "Nothin' 'Bout Memphis" finds a guilt-ridden woman hiding a past romance from her current lover, while "Dreaming Fields" is an achingly beautiful reminiscence of a 1940's couple who lose the family farm.
A great collection of barn burning country rock and gorgeous ballads. Trisha ventures outside previous comfort zones with a novelty song (Cowboys Are My Weakness) and a celtic tinged story song (The Dreaming Fields) with great results. What holds the album together are the gorgeous vocals by Trisha- her strongest studio singing yet, and the high quality of the songs- especially the lyrics. A great ALBUM- from start to finish.
'Heaven' sent; Trisha Yearwood's voice carries straight to the heart on a nearly flawless CD BYLINE: PRESTON JONES, Star-Telegram staff writer SECTION: F; Pg. 3 In country music, more than other genres, artists are often called upon to interpret the work of others. Trisha Yearwood is among those who excel at wringing every last drop of emotion from third-party material that could otherwise feel bland. That Yearwood has one of modern music's most ingratiating instruments doesn't hurt, either. Heaven, Heartache and the Power of Love, her first album of new material in 24 months, is a showcase for her warm, buoyant alto; the 13-track disc is split neatly between up-tempo, no-frills country-rockers and haunting ballads with an occasional burst of brassy attitude.
Heaven, Heartache and the Power ofLove's cohesion is also aided by the relative lack of duds -- Yearwood's discerning ear for compelling tracks means that misfires like Drown Meare infrequent. Rather, the album takes flight with songs like The Dreaming Fields, an absorbing sense memory that somehow evokes Terrence Malick's film Days of Heaven and simultaneously reveals Yearwood's debt to such predecessors as Linda Ronstadt.
Yearwood's 13th studio album glows with an easy charm.
Saturday, March 7, 2009
In Rainbows
On the deliriously satisfying In Rainbows, Radiohead returns to a more straight-ahead (though subdued) rock sound. Much hubbub has been made about this record's innovative release. Radiohead allowed fans to pay what they wished to download fairly low-resolution tracks from the band's own website. Little of the press seemed to focus on the record itself, which actually made sense because it was so entertaining and inviting, the most low-key album Radiohead has made to date.
There's even a very straight-forward, simple, silly little love song, "House of Cards." Could Radiohead's seventh album have come at a more appropriate time? Arriving on the heels of the major labels' ugly jury trial victory against a file-sharer (Jammie Thomas from Brainerd, Minn., was fined $222,000 for sharing 24 songs), In Rainbows is poised to drive a large nail in the RIAA's coffin and begin the "Industry vs. Internet" discussions anew. "It used to be just [having a release] on a major label was a source of prestige and status," said Danny Goldberg, former CEO of Warner Bros. Records and Mercury Records.
Slowly but surely, the industry-induced barrier between music and listeners continues to erode. It isn't that Radiohead veers away from the function they've served since OK Computer (inverting their internalized anxiety with tropes and imagery), they've just found prettier ways to do it, and fans that have already heard the record consistently speak about the music above all else.
The first sounds to flow out of the speakers are Phil Selway's serpentine drums, crisply teched-out à la Battles' "Leyendecker," as though Selway were hitting the heads with live wires. / How come I end up where I belong?" sounds a bit out of place alongside the Greenwood brothers' comforting guitar-bass interaction and Selway's fluid drum patterns, but when Yorke repeats it near the end, "15 Step" has morphed into a frustrated, minor-key Insides song for the 2000s, burning with repressed energy, and everything makes sense.
Radiohead pays careful attention to their openers as scene-setters, and if In Rainbows can be distilled down to a single track, "15 Step" would arguably be it. Here and elsewhere, conflicting emotions meld together into a dizzying, dazzling tableau, as the chemistry between the band and their technology-wielding producer Nigel Godrich only continues to improve.
"Weird Fishes/Arpeggi" is Radiohead at their most conventionally gorgeous, its stacked arpeggios from Yorke's guitar and Johnny Greenwood's Ondes Martenot keyboard pouring themselves over the track like so much nectar. Though Yorke's darkly imagistic language pops up here, the backing music is so dulcet that getting "eaten by the worms, weird fishes" may just be a metaphor for falling in love. Such smoothly executed dualities are all over In Rainbows: "Jigsaw Falling Into Place" is both upbeat and slightly sinister, while the song's protagonist watches the club she's in become blurry and finds herself caught between dancing and running away.
In "House of Cards," Yorke intones, "I don't want to be your friend / I just want to be your lover" over the album's most spring-like guitar lick. A lone piano plays in empty space, soon joined by Yorke: "When I'm at the Pearly Gates / This will be on videotape." And over the course of the song, instruments and voices conjure a soft lament while the drums grow increasingly warped, like the tracking bars on some forgotten VHS carrying a precious memory. Whether In Rainbows stands the test of time is entirely up to you.
TENTATIVE TRACKLIST: "15 Step" – 3:57 "Bodysnatchers" – 4:02 "Nude" – 4:15 "Weird Fishes/Arpeggi" – 5:18 "All I Need" – 3:48 "Faust Arp" – 2:09 "Reckoner" – 4:50 "House of Cards" – 5:28 "Jigsaw Falling into Place" – 4:09 "Videotape" – 4:39 --This text refers to an out of print or unavailable edition of this title.
