Flogging Molly "Swagger" Side One Dummy
Forget Guinness. The best thing you’ll find being imported from
Ireland these days is Flogging Molly.
Whether dishing punky anger or folk-laced ballads, the Irish/So.
Cal septet is good. Damn good. The traditional accordions, whistles
and mandolins mix so well with the thrashed-out electric guitars,
it’s hard not to get caught up in the infectious energy that fills
"Swagger."
Accordion player Matt Hensley calls the sound "Irish drinking
music," but it’s decidedly not just for the Bushmills and Black and
Tan crowd. Anyone with an ear for good music should appreciate the
band’s hard-driving grooves.
Though much of the power comes from Dave King’s rapid-fire
vocals and George Schwindt’s rat-a-tat-tat drumming, Flogging Molly
would be nowhere without Bridget Regan’s excellent work on both
fiddle and tin whistle. With a keen sense of both rhythm and
melody, she brings life to each tune she gets her hands on. With
Regan sawing away at her violin, "Salty Dog" and "The Likes of You
Again" shine.
Though the band sounds most focused on faster numbers like
"Devil’s Dance Floor," it can pull off slower material
convincingly, as well. Though "Grace of God Go I" lags a bit,
"These Exiled Years" more than makes up for any lost momentum. Gary
Schwindt’s mournful trumpet and King’s wistful vocals combine to
make it a track not to be missed.
The band’s real strength lies in its ability to blend disparate
musical elements – something "Swagger" highlights nicely. Though
most of the songs show this in one way or another, the best example
comes along with "Sentimental Johnny," which comes across as an
Irish kidnapping of a mariachi band. It’s an odd mix, but it works
extremely well, with Schwindt’s trumpet interlocking with Hensley’s
accordion for a hyped-up ride.
Though "Swagger" has its spotty moments, the band is hard to
resist. Sober or otherwise, you’ll be hard pressed to find music
this unique elsewhere.
Brent Hopkins
Rating: 8
Various Artists "Music from the Motion Picture ‘Outside
Providence’" Giant/Reprise
In theory it should be a relatively easy job to come up with a
great soundtrack for a period movie. While modern soundtracks lack
the benefit of hindsight and often suffer from the pressure to
include currently popular artists whose work may not stand the test
of time, period soundtracks should benefit from having a wide
selection of era-appropriate, high-level music to choose from.
Yet, despite this advantage, many period soundtracks fail.
Thankfully, "Music from the Motion Picture ‘Outside Providence,’"
which is set in the 1970s, is one that succeeds. Sure, the
selection here doesn’t exactly resemble a cohesive album, but this
is definitely a collection of impressive songs.
There are a number of highlights on this high-power album, and
possibly foremost among them is Steely Dan’s first hit, "Do It
Again," an invigorating, pulsating rock number that still contains
a few traces of the blurring of the line between rock and jazz that
would characterize Steely Dan’s work to come. Like all Steely Dan
songs, "Do It Again" is also far ahead of the pack lyrically.
Other excellent songs on "Outside Providence" include Yes’s
marvelous eight-and-a-half-minute "Roundabout," which features
top-of-the-line guitar playing and an infectious chorus, and the
Paul McCartney and Wings standard, "Band on the Run."
But there’s more; "Won’t Get Fooled Again," by The Who, "Long
Train Runnin,’" by the Doobie Brothers, and "I’d Love to Change the
World," by Ten Years After are also included on "Outside
Providence."
A "good" music critic would likely encourage you to seek out the
individual single artist albums that contain all of the impressive
music on this soundtrack. That’s probably not a bad idea, but for
those who aren’t willing to immediately run out and blow a whole
lot of money, "Outside Providence" is a really nice
alternative.
Gideon Cross
Rating: 8
Robert Bradley’s Blackwater Surprise "Time to Discover"
RCA
"Time to Discover" is in many ways a frustrating listen. It’s
obvious that Bradley and the rest of the band members have the
chops, but their material frequently fails them.
The instrumental beginnings to the songs are almost unfailingly
intriguing and well-performed, but just when the eagerness to see
where the song will go starts to really set in, the song itself all
too often disappoints. Most of the tracks are by-the-numbers blues
rock, with a bit of a retro feel, and they are performed with skill
and professionalism.
Yet, it is only on two tracks that the ultimate potential of
Robert Bradley’s Blackwater Surprise shines through. Not
coincidentally, these excellent songs are the only tracks on the
album that find the band really taking chances.
"Mr. Tony" contrasts Bradley’s falsetto with the band’s
trademark gritty instrumental performance. The falsetto vocals add
a new dimension to the music. But "Uncle John" is simply more
boisterous than the rest of the album. It’s as if the band members
had been told to restrain themselves for the first 10 tracks and
had suddenly been allowed to cut loose; the result is
impressive.
Robert Bradley’s Blackwater Surprise is a superior band. If it
is going to live up to its high potential, it must be willing to
take on daring material. The musicianship is certainly there and
with a band of this caliber, a little extended jamming (sadly
missing from the vast majority of "Time to Discover") would be a
welcome addition to most songs.
"Time to Discover" is not a particularly satisfying album, but
it does mark Robert Bradley’s Blackwater Surprise as a band to
watch. Hopefully, the future will bring more complicated musical
arrangements, more extended jams, and a more original direction for
one of the most skillful bands in rock today.
Gideon Cross
Rating: 6
Cat Power "The Covers Record" Matador
Chan Marshall kicks off her latest Cat Power disc with a
reworking of "(I Can’t Get No) Satisfaction." If she’s listening to
her own album, it’s not hard to see why.
Though the concept – taking the standards of the Rolling Stones,
Bob Dylan and other rock titans, then stripping them down and
making them new – is an interesting one, Marshall can’t quite pull
it off convincingly. Her haunting voice, trembling above simple
accompaniment, sounds awfully nifty, but only for three or four
songs. After that, it’s just a long string of repetitive, boring
tunes. While they’re soothing and make nice background music, they
offer little in terms of worthwhile listening.
"The Covers Record" comes across like a first demo tape –
simple, halting and unpolished. While this is what Marshall is
likely intending to do, the result isn’t worth buying. Sitting in
at an introductory guitar lesson will get you just about the same
level of excitement.
Marshall’s work will likely be devoured by critics who will
praise its originality and style. Don’t be fooled, because while it
is indeed original and stylish, that doesn’t make for a good album.
It makes for 12 tracks that are more likely to put you to sleep
than they are to turn anyone besides the most devoted music
junkie’s head.
Brent Hopkins
Rating: 2