Sound Bites

 

The Scooters “I Can See Your House From
Here” Aeronaut Records

Three-part harmonies have worked well for many bands like the
Beatles and the Byrds, and it’s working fine for the
Scooters.

Following its first release, “Peepshow,” is the
Scooters’ new album, “I Can See Your House From
Here.” Originating in Wales, the five-piece set consists of
two guitarists, a bassist, a drummer and a keyboardist.

The 11-track album spans most genres of the guitar-based music
spectrum. There is a sufficient balance between mellow acoustic
songs and some energetic plugged-in ones.

The first song, titled “This is How it Ends” is a
nice acoustic piece delving into issues of melancholy and
acceptance.

“Times have changed, just another day, this is how it
ends,” sing the three vocalists, Anthony Carey, Chris Kely
and Robert Molcher.

On the more upbeat, guitar-driven tunes, there is some hint of
older rock songs, something that borders almost on an R.E.M.-type
sound.

“I Can See Your House From Here” is a decent album,
with no particular flaws. The songs are rather catchy and the album
has a wide enough range to accommodate most moods. Not particularly
a must-have, rather a should-listen-to.

Kenny Chang  

Chris Isaak “Always Got Tonight” Reprise
Records

“Always Got Tonight” is typical Chris Isaak. He
croons love songs, his voice fluctuating between intimate and
desperate tones, as 30-something women everywhere sigh and gaze
into the picture of those gorgeous blue eyes.

So basically, it’s fairly musically uninteresting. In
fact, most of the songs sound the same. Not just the same as the
other songs on the album, but also the same as most of the other
songs he’s written.

After a while, his kind of disappointing love life is no longer
a good enough subject for songs to hold the listener’s
interest.

Given that, the album does have its high and low points.
“Let Me Down Easy” is one of the better songs, while
“Notice the Ring” is probably the most annoying. There
is no standout like “Baby Did a Bad Bad Thing” or
“Wicked Game,” arguably his best songs.

For fans of Isaak, this will satisfy, being more of the same.
For those interested in checking his music out for the first time,
head for an older album like “Forever Blue” or
“Heart Shaped World.” This isn’t Isaak at his
best.

Mary Williams  

Great Big Sea “Sea of No Cares” Zoe
Records 

A clownfish would have been more appropriate cover art for
Newfoundland quartet Great Big Sea’s latest offering,
“Sea of No Cares.” The group’s original lyrics
are uninspired and bland, and attempts at conveying nostalgia
through folk classics instead play as merely competent covers.

The cliché-happy disc is heavy with vague lyrics that weigh
down songs otherwise perfect for a road-trip soundtrack. An
original song like “Clearest Indication” is chock full
of sophomoric statements that wither in comparison with the
resonant wording of folk favorite “French Perfume.”

Maybe if Great Big Sea could rock out the folk songs the
originals could be overlooked, but sadly they remain adrift
throughout the entire disc.

Great Big Sea celebrates their roots constantly. The metaphors
used in nearly every song somehow have to do with all things
maritime. Love, fear ““ any human emotion is related to tides
and sailors. By the third track this constant analogy is as
monotonous as the music.

Traditional Celtic music cannot be mediocre. It is meant to
soar, both with emotion soaked vocals and raucous instrumentals.
Great Big Sea’s attempts at this craft blend together into
one big block of sound.

To cover someone else’s work ““ no matter how old
““ the final product must be more than simply competent. For
inspired tunes look to Ireland’s The Chieftains or vocalist
Kate Rusby and let “Sea of No Cares” sleep where it
should ““ with the fishes. 

Kathleen Dunphy