Record Reviews
Mark Knopfler & Emmylou Harris
originally published July 12, 2006
An engaging duet platter recorded between various other outings, All the Roadrunning continues Mark Knopfler’s ongoing move away from the strict studio polish of Dire Straits towards more organic music. Joined by reliable partner Emmylou Harris, who really hasn’t flubbed a duet record thus far, the short but sweet outing is a pleasant detour from either’s catalog.
In its favor, the 12-track Roadrunning seldom reflects the fact that it took almost 10 years of scattered studio sessions to record. From the bluesy swagger of “I Dug Up a Diamond” to the playful double entendre of “Red Staggerwing” and “Belle Starr,” the thing flows remarkably well and neither Knopfler’s bristly growl nor Harris’ delicate timbre show obvious effects of the time passed. The reflective “Donkey Town," an outtake from Knopfler’s Sailing to Philadelphia sessions, is another comfy standout that proves sometimes nobody can sound quite as ragged and destitute as a caviar-munching rock star.
As informal and inviting as can be, the fact that Roadrunning’s contents have finally been capsulized bodes well for both Knopfler and Harris, two stalwarts confidently easing into the autumn stages of their careers. Similar to the casual comfort level exuded by Western Wall: The Tucson Sessions, Harris’ 1999 pairing with Linda Ronstadt, it’s obvious the two genuinely enjoy one another’s company and know how to play off their divergent strengths (i.e.: Knopfler’s tendency to peek across the precipice and Harris’ self-assured restraint). That, combined with a sharp set of songs, is enough to carry this one through and suggest that another meeting between the two wouldn’t be a bad idea at all - though preferably sooner rather than later.
Michael AndrewsRecord Reviews
Randall Bramblett
originally published July 12, 2006
On his latest release, Randall Bramblett sounds like he's having more fun on the clock than he has in years. That's not to say that the gruff-voiced, sax-playing jack of all trades has fallen short on his previous two solo releases - 2001's No More Mr. Lucky and the 2004 release Thin Places - but this new one has a livelier and more organic flavor similar to that of Bramblett's live shows.
Bramblett recruited a new band comprising longtime guitarist Davis Causey, drummer/ producer Gerry Hansen, Atlanta guitarist Mike Hines and Athens bassist Michael C. Steele for the sessions. The title track adds a bluesy, Delbert McClinton-style touch; "Queen Of England" gets a major sax overhaul; and "Rainville" rides on Bramblett's built-in sense of melancholy and Causey's wobbly barroom picking.
Heavy on the funky R&B end and rather light on the jammy connotations that he's also known for, Bramblett and his troupe don't sound pressed for time or unnecessarily anxious to make the utmost of their hours in the studio. As Bramblett has stipulated, it's a real "band" record and one that reminds us how, even when Bramblett is out in the lead, he's adding just as much to the proceedings by simply blending in.
Michael Andrews Randall Bramblett is playing at the 40 Watt Club on Saturday, July 22.Record Reviews
Bardo Pond
originally published July 12, 2006
If you smoke pot, don't waste your time reading this. You can go ahead and buy the new Bardo Pond record. You will like it. This is, in fact, my only problem with the Philadelphia band. The music is thick and sludgy and at times ear-crushing, but not in a metal way. In a stoned way. Other than this issue, I've loved the band for years. And I don't smoke.
Vocalist and flautist (yes, flautist) Isobel Sollenberger has always saved the band from being pigeonholed with Sunn O))), Boris, Boredoms and the like. There's nothing wrong with Sabbath being the roots of your tree, but Bardo Pond manages to drink from those influences as well as fit onto your mixtape alongside Godspeed and Spiritualized. Sollenberger is most well-known for providing the flute on Mogwai's fan-favorite track "Mogwai Fear Satan," while her band has quietly ridden the doom train for six albums now. Ticket Crystals is supposedly the final installment in a trilogy begun with 2001's Dilate and 2003's On the Ellipse, and you should know that it can't hold a candle to either of those awesome albums.
There's much more acoustic emphasis this time around, best heard on "FC II." Ethereal drone weaves in and out of dreamy strumming and gentle percussion. "Endurance" is the stoner jam. And the cover of the Beatles' "Cry Baby Cry" is a bit too rote to justify inclusion on a proper album this long. But there's 77 minutes worth of mostly primo shit here, dude. Bardo Pond is far from cashed.
Michael WehuntRecord Reviews
Cheap Trick
originally published July 12, 2006
So what’s all the fuss about Rockford? It’s only another great album in the Cheap Trick catalog. Maybe those gushing that this is the best thing since Dream Police never heard 2003’s Special One or 1997’s eponymous Red Ant release (or maybe they just didn’t listen to them fairly). The only real difference is that Rockford’s not as heavy as those last two releases. Here, poppy melodies and lush harmonies share the spotlight equally with stinging guitars. But don’t think for an instant that this one doesn’t rock. “Give It Away” and “Come On Come On Come On” both kick as hard as anything in the band’s history (even if they’re a bit slicker than you might expect). Lead-off single “Perfect Stranger” even packs a mighty wallop for such a catchy, radio-friendly tune. And therein lies the beauty of this release. Rockford simply contains the perfect mixture of muscle and melody. “Dream The Night Away” is amped-up Hollies, while the following tune, “All Those Years," is a gorgeous ballad that still manages to fizz with distortion as it subtly references both Elton John (lyrically) and Electric Light Orchestra (musically).
Throughout the disc, the actual playing is also stellar. In fact, Rockford may be the best Cheap Trick album ever at capturing the strengths that each individual brings to the table. Drummer Bun E. Carlos sounds like a crunchy cross between Ringo Starr and Keith Moon, while his rhythm partner Tom Petersson adds depth and texture by not necessarily choosing the obvious notes on his 12-string bass. The thickness that this provides only makes the huge guitar attack of Rick Nielsen sound more immense. Of course, over it all is the voice of Robin Zander which has only gotten stronger and more nuanced over the years. He can scream like Cobain (who, in fact, screamed like Zander) or be as gentle as Nick Drake. And when that voice is relaxed, he’s one of the greatest, most recognizable voices in the history of rock and roll. The vocal performance on “O Claire” actually gave me chills when I first heard it. When I recovered enough to hear the rest of the song, I realized just how potent the Cheap Trick magic still is.
Despite never receiving the accolades and success that lesser peers have achieved, this band just keeps moving forward. Maybe that’s the best revenge. While those contemporaries are now defunct or working the nostalgia circuit, Cheap Trick is still putting out music that stands up to its greatest work. I won’t say that this is the best Cheap Trick album since the ‘70s, but I will say it’s the best power pop album by anyone in many, many moons. If you’re even a passive fan, you need this.
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