NEW MUSIC CORNER # 37 (SEETHER, ROBBIE ROBERTSON and BLACK STONE CHERRY (special edition))
Very early this week I'm afraid, because I'm gonna have a busy weekend, so here's NMC:
Like RJhog did a few weeks back, I'm gonna post 3 albums in this NMC, and therefore there's only 4 tracks from each album.
SEETHER - HOLDING ONTO STRINGS BETTER LEFT TO FRAY
1. Fur Cue
2. No Resolution
3. Here And Now
4. Roses
From AllMusic.com:
Shaun Morgan seems angry again. On Seether's 2011 opus, Holding Onto Strings Better Left to Fray, disillusionment, anger, and pain are central themes. Morgan's writing has always felt real, offering up some of the genres better moments with 2005's Karma and Effect and 2007's Finding Beauty in Negative Spaces. With this opus, Morgan has again struck a chord. "Desire for Need" is a four-on-the-floor rock joint that finds Morgan reaching for falsetto, which adds an alternative, bluesy vibe to the song's feel. Tunes like "Country Song" and "Master of Disaster" are stamped with Dale Stewart's sexy bass grooves as well as anthemic vocals. On the latter, Morgan's vocal melody actually takes on a Queensrÿche feel. One shining moment is the ballad "Pass Slowly." Musically, the band lays down an ethereal groove that reaches its pinnacle behind well-built guitar and bass riffs. Holding Onto Strings Better Left to Fray is another journey into the mind of Shaun Morgan: through heartbreak and rebirth he still has a lot to say about betrayal. His stamps a guitarist, a songwriter, and a lead vocalist are everywhere on this disc, and thankfully, that's what ultimately drives the release home.
From me:
I like this album. It was a bit of a slow starter, but several of the tracks are really good. The album might be a little too long, but overall it's a nice album. Probably on 3rd place so far on my 2011-list. And hey, it was produced by the legendary Brendan O'Brian.
ROBBIE ROBERTSON - HOW TO BECOME CLAIRVOYANT
1. Straight Down The Line
2. When The Night Was Young
3. She's Not Mine (feat. Eric Clapton)
4. How To Become Clairvoyant
From AllMusic:
How to Become Clairvoyant is Robbie Robertson's first album since 1998's Contact from the Underworld of Red Boy. In the interim, he served as musical director for some Martin Scorsese films, produced soundtracks, and worked as an A&R man for Dreamworks. Co-produced by Robertson and Marius de Vries, the 12-song set boasts an impressive guest list. Eric Clapton makes seven appearances on guitar, duets on "Fear of Falling," co-wrote three tunes, and contributed an instrumental ("Madame X," which is minimally but beautifully textured by Trent Reznor). Steve Winwood, Robert Randolph, Angela McCluskey, and Tom Morello also appear. Bassist Pino Palladino, drummer Ian Thomas, and pianist Martin Pradler are the house band on a Robertson album typically saturated in rich, warm production, sonic flourishes, and ambient atmospheres. Despite a preponderance of guitars, this isn't a cooking session, but an uncharacteristically autobiographical song cycle that addresses not only Robertson's life and experiences, but those of his friends, heroes, and collaborators. It opens promisingly enough with the rootsy "Straight Down the Line," with rocking steel guitar solos by Randolph. Its lyrics deal with what attracted Robertson to the musican's calling. The meld of nocturnal guitars, synthetically funky beats, and taut yet off-kilter melody create the musical backing for "He Don't Live Here Anymore," a song that frankly discusses substance abuse and addiction. "When the Night Was Young" is a signature Robertson ballad. Though it commences with his trademark guitar sound, it tells his version of his generation's story in a laid-back way. Its lilting hook relies on country and blues; paired with 21st century production tropes, the music creates an emotional palette of longing. That said, even though romances with historical and archetypal pasts have been strong suits in his songwriting, these lyrics are self-indulgent, nostalgic, sappy. "This I Where I Get Off" addresses for the first time -- in song anyway -- his reason for breaking up the Band, and features fine guitar interplay between Robertson and Clapton. "She's Not Mine" is a nakedly honest love song. Despite its near-cinematic production, where the guitars are all but buried, its emotional content comes through via fine intuitive organ work by Winwood. "Axman," a tribute to Robertson's guitar heroes, is a star-studded name-check list that's embarrassing; even Morello's excellent guitar work can't redeem it. The angular, funky, nocturnal, funky R&B in the title track is among the more subtle highlights here; it contains a head-scratcher of a melody with the best lyrics on the set, and excellent exchanges between Randolph and Robertson. The instrumental "Tango for Django" closes with another over-the-top production that employs nuevo tango as artifice. Robertson's gut-string guitar and keyboards are backed by cello, violin, accordion, bass, and drums, all highlighted by an orchestra. It's a fitting conclusion, even if it is gratuitous. How to Become Clairvoyant is a sometimes compelling record, but it's a flawed one, too, with moments of beauty countered by bloated lyrical and production excesses. Ultimately, it feels as much like an exercise in self-justification as it does in personal revelation.
From me:
I've only heard this album once so far, so I can't really say much about the album. It sounds good to me.
BLACK STONE CHERRY - BETWEEN THE DEVIL AND THE DEEP BLUE SEA (Special Edition)
1. Such A Shame
2. Staring At The Mirror
3. Fade Away
4. Die For You
From AllMusic:
Bringing huge, Southern rock riffs to the world of slick post-grunge, Black Stone Cherry bring the heavy stuff on their third album, Between the Devil & the Deep Blue Sea. If Black Stone Cherry have proven that they’re good at anything over the course of their last two albums, it’s that they know when to go big, and they do just that on the album opener, “White Trash Millionaire.” Opening with a stomping riff, the song kicks off the album on the right foot with a stomping down-home country-rock riff. Country swagger dominates the guitar work on “Let Me See You Shake,” a song that seems readymade for the strip club with its sleazy, churning riffage. It’s not all country-influenced hard rock, though, as a good chunk of the album finds the band showing off their more sensitive side with songs like “Won’t Let Go” and “Stay,” which still have some solid rock at their foundation, but lose the confident strut that Black Stone Cherry build for themselves. In a genre that's grown more and more homogeneous as its radio dominance has spread, a band like Black Stone Cherry is kind of refreshing, bringing something a little dirty and grimy to a sound that’s usually so polished, and while it’s definitely more Kid Rock than Lynyrd Skynyrd, it’s got a whole lot more country than some of their contemporaries are bringing to the table.
From me:
I'm not sure, what I think of this album. I'm NOT a fan of Kid Rock and sometimes it reminds me of him. Some of the lyrics are lousy (IMO), and I feel lucky, that I have the special edition with 3 extra tracks, because 2 of those tracks are among the 4 or 5 best on the album (again IMO). I've posted all 3 extra tracks, because you MIGHT have heard the album by now, but maybe not those tracks??
Click here, if you would like to listen:
http://www.podsnack.com/playlists/882d34e1d95433960890f9316a653088
Like RJhog did a few weeks back, I'm gonna post 3 albums in this NMC, and therefore there's only 4 tracks from each album.
SEETHER - HOLDING ONTO STRINGS BETTER LEFT TO FRAY
1. Fur Cue
2. No Resolution
3. Here And Now
4. Roses
From AllMusic.com:
Shaun Morgan seems angry again. On Seether's 2011 opus, Holding Onto Strings Better Left to Fray, disillusionment, anger, and pain are central themes. Morgan's writing has always felt real, offering up some of the genres better moments with 2005's Karma and Effect and 2007's Finding Beauty in Negative Spaces. With this opus, Morgan has again struck a chord. "Desire for Need" is a four-on-the-floor rock joint that finds Morgan reaching for falsetto, which adds an alternative, bluesy vibe to the song's feel. Tunes like "Country Song" and "Master of Disaster" are stamped with Dale Stewart's sexy bass grooves as well as anthemic vocals. On the latter, Morgan's vocal melody actually takes on a Queensrÿche feel. One shining moment is the ballad "Pass Slowly." Musically, the band lays down an ethereal groove that reaches its pinnacle behind well-built guitar and bass riffs. Holding Onto Strings Better Left to Fray is another journey into the mind of Shaun Morgan: through heartbreak and rebirth he still has a lot to say about betrayal. His stamps a guitarist, a songwriter, and a lead vocalist are everywhere on this disc, and thankfully, that's what ultimately drives the release home.
From me:
I like this album. It was a bit of a slow starter, but several of the tracks are really good. The album might be a little too long, but overall it's a nice album. Probably on 3rd place so far on my 2011-list. And hey, it was produced by the legendary Brendan O'Brian.
ROBBIE ROBERTSON - HOW TO BECOME CLAIRVOYANT
1. Straight Down The Line
2. When The Night Was Young
3. She's Not Mine (feat. Eric Clapton)
4. How To Become Clairvoyant
From AllMusic:
How to Become Clairvoyant is Robbie Robertson's first album since 1998's Contact from the Underworld of Red Boy. In the interim, he served as musical director for some Martin Scorsese films, produced soundtracks, and worked as an A&R man for Dreamworks. Co-produced by Robertson and Marius de Vries, the 12-song set boasts an impressive guest list. Eric Clapton makes seven appearances on guitar, duets on "Fear of Falling," co-wrote three tunes, and contributed an instrumental ("Madame X," which is minimally but beautifully textured by Trent Reznor). Steve Winwood, Robert Randolph, Angela McCluskey, and Tom Morello also appear. Bassist Pino Palladino, drummer Ian Thomas, and pianist Martin Pradler are the house band on a Robertson album typically saturated in rich, warm production, sonic flourishes, and ambient atmospheres. Despite a preponderance of guitars, this isn't a cooking session, but an uncharacteristically autobiographical song cycle that addresses not only Robertson's life and experiences, but those of his friends, heroes, and collaborators. It opens promisingly enough with the rootsy "Straight Down the Line," with rocking steel guitar solos by Randolph. Its lyrics deal with what attracted Robertson to the musican's calling. The meld of nocturnal guitars, synthetically funky beats, and taut yet off-kilter melody create the musical backing for "He Don't Live Here Anymore," a song that frankly discusses substance abuse and addiction. "When the Night Was Young" is a signature Robertson ballad. Though it commences with his trademark guitar sound, it tells his version of his generation's story in a laid-back way. Its lilting hook relies on country and blues; paired with 21st century production tropes, the music creates an emotional palette of longing. That said, even though romances with historical and archetypal pasts have been strong suits in his songwriting, these lyrics are self-indulgent, nostalgic, sappy. "This I Where I Get Off" addresses for the first time -- in song anyway -- his reason for breaking up the Band, and features fine guitar interplay between Robertson and Clapton. "She's Not Mine" is a nakedly honest love song. Despite its near-cinematic production, where the guitars are all but buried, its emotional content comes through via fine intuitive organ work by Winwood. "Axman," a tribute to Robertson's guitar heroes, is a star-studded name-check list that's embarrassing; even Morello's excellent guitar work can't redeem it. The angular, funky, nocturnal, funky R&B in the title track is among the more subtle highlights here; it contains a head-scratcher of a melody with the best lyrics on the set, and excellent exchanges between Randolph and Robertson. The instrumental "Tango for Django" closes with another over-the-top production that employs nuevo tango as artifice. Robertson's gut-string guitar and keyboards are backed by cello, violin, accordion, bass, and drums, all highlighted by an orchestra. It's a fitting conclusion, even if it is gratuitous. How to Become Clairvoyant is a sometimes compelling record, but it's a flawed one, too, with moments of beauty countered by bloated lyrical and production excesses. Ultimately, it feels as much like an exercise in self-justification as it does in personal revelation.
From me:
I've only heard this album once so far, so I can't really say much about the album. It sounds good to me.
BLACK STONE CHERRY - BETWEEN THE DEVIL AND THE DEEP BLUE SEA (Special Edition)
1. Such A Shame
2. Staring At The Mirror
3. Fade Away
4. Die For You
From AllMusic:
Bringing huge, Southern rock riffs to the world of slick post-grunge, Black Stone Cherry bring the heavy stuff on their third album, Between the Devil & the Deep Blue Sea. If Black Stone Cherry have proven that they’re good at anything over the course of their last two albums, it’s that they know when to go big, and they do just that on the album opener, “White Trash Millionaire.” Opening with a stomping riff, the song kicks off the album on the right foot with a stomping down-home country-rock riff. Country swagger dominates the guitar work on “Let Me See You Shake,” a song that seems readymade for the strip club with its sleazy, churning riffage. It’s not all country-influenced hard rock, though, as a good chunk of the album finds the band showing off their more sensitive side with songs like “Won’t Let Go” and “Stay,” which still have some solid rock at their foundation, but lose the confident strut that Black Stone Cherry build for themselves. In a genre that's grown more and more homogeneous as its radio dominance has spread, a band like Black Stone Cherry is kind of refreshing, bringing something a little dirty and grimy to a sound that’s usually so polished, and while it’s definitely more Kid Rock than Lynyrd Skynyrd, it’s got a whole lot more country than some of their contemporaries are bringing to the table.
From me:
I'm not sure, what I think of this album. I'm NOT a fan of Kid Rock and sometimes it reminds me of him. Some of the lyrics are lousy (IMO), and I feel lucky, that I have the special edition with 3 extra tracks, because 2 of those tracks are among the 4 or 5 best on the album (again IMO). I've posted all 3 extra tracks, because you MIGHT have heard the album by now, but maybe not those tracks??
Click here, if you would like to listen:
http://www.podsnack.com/playlists/882d34e1d95433960890f9316a653088
Views: 84
Replies to This Discussion
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Permalink Reply by RJhog (Admin) on
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Oh, okay, you were talking about their brand new album. Now I understand.
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Permalink Reply by Niels (Mod) on
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It seems to me, that nobody really likes the Seether-album, and maybe it's because you have'nt heard the 4 bonus-tracks. Yes, that's right: Here in Denmark, there's also bonus-tracks to that album. Therefore, I'll give you a change to listen to them. I was listening to the album yesterday, and I realized, that perhaps the last 3 tracks on the "normal" cd, was rather weak, but these 4 tracks are in my opinion better, and makes the album, yeah well, better. Okay. listen for yourself:
http://www.podsnack.com/playlists/531f54eddb3341ac6ebee250aa662608
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Niels, I definitely like the bonus tracks better, especially the 2nd and 4th ones. Too bad they can't get rid of the crap songs and replace them with a couple of these. They would have a much better album. Thanks for posting them.
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I agree, after I have been listening to the album quite a few times now. There are a few crap songs but overall, I think the album is at LEAST as good as the new BSC....or BÖC, or whatever.
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Permalink Reply by Scott on
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I'll have to stop back in and listen tot he bonus material... Ive been picking at this the past couple days and finally finishes the 12 posted tracks...
Seether ... Thumbs even with a head shrug and an audible "eh"
Im indifferent, I didnt hear anything bad, but I didnt hear anything that made me stop and take notice either. kind of more of the same modern rock thats already been done and done and redone....
Robbie Robertson ... Thumbs even, but no head shrug or funny noises
It ok, not bad actually. I think I may have to do what RJ did and thats listen a few times. Its not that it was bad, its a style choice and this isnt a choice I would normally make. May have more to say when I re-listen though....
Black Stone Cherry ... Thumbs slightly up but with an audbile "eh"
I hear moments but nothing that sustained me for a whole song. The potential is there, I hope they get a chance to grow and become what theyve could be...
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