Minton Sparks - Sin Sick

www.mintonsparks.com

"Sin Sick" would best be described as a combination of spoken word poetry and country. The fact that we don't hear anything like Milnon Sparks on MTV or any major radio is proof that this county lacks any sort of class or culture. Minton Sparks has a rich gift for melodies and poetry. She sings with remarkable emotions about love, pain and everything the heart can feel. I hate to compare her to anyone else, but Minton reminds me of Billie Holiday. She reminds me of Holiday not in the way she sounds but in how painfully honest and emotional her music is.
This album is a treasure. Each song is a story with Minton's voice so beautifully accompanied by the sounds of such stars as Chis Thile of Nickel Creek and blues pianist Steve Conn. One track even strays away from her country sound with an accordion based waltz. Although the music that backs each story helps it flow so greatly, that is not the key to this album. Sparks creates entire worlds in just a few minutes with her rhythmic storytelling. Her voice emulates each character and each feeling in an almost cinematic style.
The stories are drawn sometimes from her own imagination and sometimes from those around her. In the track "Aunt Shine's Face Lift" she pleads, "to bad we can't re-teach a girl her loveliness" when speaking of the her aunt's plastic surgery.
Unlike her history, I hope her future will be totally different so that we all may know who Minton Sparks is for the rest of our lives. She is truly one of a kind, and should be overlooked no longer.

Bell Orchestre - Recording a Tape the Colour of the Light

Fanatic/Rough Trade (release date: November 8th)

The Bell Orchestre is the instrumental side project of the indie rock orchestra the Arcade Fire, but don't expect this to sound anything like them. At first listen these songs would come off as chaotic. There is really no guessing what will come into the mix next. This record consists of strings, bells, horns, drums, stethoscopes, samples, percussion, steel guitar, and even the occasional melodica.
These Canadians sound like an abandoned jazz hall that has been haunted by the ghosts of the players. Their sound is at moments ambient and abstract and then in a matter of seconds it becomes furious and upbeat. If you have a short attention span stay away from this record." Recording a Tape The Colour of the Light" could put you to sleep and wake you back up all in one listen. Some of the tracks seem a bit to minimalist to catch an ear, but those are easily made up for by sonic eeriness that the album holds.

Ani DiFranco - Knuckle Down

Righteous Babe

Since her day view in 1990 Ani DiFranco has made her mark as a legend in the modern folk world. Rarely does someone so powerful and charismatic come around. Ani is the living dream of every teenager with a guitar rediscovering for themselves the raw sounds of artists like Woody Guthrie and trying to take their own spin on the folk tradition. She is a perfect example of do it yourself ethics in the music world, resisting major label pleas and the corruption of the industry by sticking to the the label she created herself, Righteous Babe Records. "Knuckle Down" is the first release that Ani has ever invited another musician to co-produce with her. Unlike her last where she played every instrument, this album is co-produced by Singer/songwriter Joe Henry and has a wide range of accompaniment.
In her fifteen years of playing, Ani has not lost her edge one bit. She seems to stray further and further from the "folk punk" sound of her early albums, but the urgency and angst is still there. The second half of this album hurts. It hurts because it is truthful. It gets darker and darker as you get deeper into it. "Parameters" is a frightenting account of a women coming home to find an uninvited man hiding in her bedroom. She speaks almost as if this song is a warning to women who's fear of sexual assault fades when she says, " thirty-three years go by and you loosen the momentum of teenage nightmares, your breasts hang like a woman's and you don't jump at shadows anymore."
Each of the twelve songs that "Knuckle Down" consists of are just as poignant as "Parameters." The Album flows beautifully with the songs literally blending into each other at times. The production and layout is stunning, and was co-designed by Ani herself. The only complaint I have about this album is that not enough people will experience it, for it is inspirational.

Sevendust - Next

WineDark/7Bros/Fontana/Universal (release date: October 11th)

Sevendust's frontman Lajon Witherspoon describes "Next" as "the most honest and the most learned work we've done." This comes from a man who began fronting an R&B band and somehow ended up where he is now, screaming and singing his heart out over chugging guitars and crushing drums. "Next" is their fourth studio album and it begins like any hard rock record should, screamy, heavy, and enraged.
Unfortunately, the sound becomes watered down. As you get deeper into "Next" the songs retract into ballads. Maybe its Wtherspoon's R&B roots coming back to him, but it seems like Sevendust should stick to what they are good at. I wont deny that this album is honest. The problem is that minus the ballads it doesn't really sound much different from how Sevendust did in the late nineties. I can appreciate a purist, but this feels more like a lack of innovation than sticking to ones roots.

Heavier Strings - A String Quartet Tribute to John Mayer's Heavier Things

Vitamin

John Mayer exploded onto pop music out of nowhere. In a matter of hours he went from being a student at the Berkeley School of Music to dominating MTV, VH1, and pop radio alike. This album is another tribute to the man who has already earned himself a Grammy.
Heavier Strings: A String Quartet Tribute to John Mayer's "Heavier Things" throws a new light on Mayer's latest and most ambitious album. It is subtle and suavely melodic. In the hand of a gifted chamber quartet, it plays like the coolest pop-rock suite. Soaring violins and violas give elegant voice to Mayer's Georgia drawl; cello and bass form a supple, free-flowing rhythm section. Propelled by Mayer's crafty pop hooks, this release is light on its feet. This album is by no means essential, but for the hardcore Mayer fan, i can't see why they would not give it a listen.

50 Cent - The Massacre: Special Edition

Shady/Aftermath/Interscope/Universal

The original version of "The Massacre" has already sold over 6 million copies around the world, giving 50 Cent the title as the current king of hip-hip. Not bad for a man who is practically drowning in hype. So what is actually new about this "special" edition? Musically not much. It has one unreleased track, a remix of "Outta Control." What is so "special' about this release is that the DVD it comes with has a video for all twenty-one tracks on album.
Hip Hop used to be something the common people saw as frightening and confrontational. Now it seems less like a threat and more like a way people like 50 Cent to become millionaires. My take on this release is that 50 has found yet another way to make even more money. He is staring in his first motion picture, "Get Rich or Die Trying'" and has a video game titled "Bulletproof" on the way. Both of these are scheduled for a November release. Rather than containing the lyrics, the layout is basically an advertisement for these two releases and his band G-Unit.
I just cant seem to understand why there is all this buzz around one of the most boring voices in hip-hop. He raps like he is about to fall asleep, his voice is monotone as if these tracks bored even him in the studio. Obviously the sales prove that the world loves 50 Cent. I just don't get it. I would love to think that this record is just over my head, but i doubt that is the case.

Trapt - Someone in Control

Warner Bros

Teenage frustration, softer sung verses with catchy yet screamy choruses, and drop D tuning. These are the ingredients that make Trapt what they are. "Someone in Control" is the group's second studio album. They have stuck to their formula of constantly going back and forth between being hard and soft.
This album is basically about suburban alienation, a common theme in hard rock. The dilemma I have with "Someone in Control" is that when I listen to it, Trapt seems to sound less like hard rock and more like a sixteen year old crying because his parents won't let him take the car out. The lyrics... well I'll just let them speak for themselves. "You're going to have to carve me from stone, right to the bone or i'll end up alone." I wouldn't exactly call the boys from Trapt poets, if you know what I mean.

Nextaid Compilation - Reboot:notes for the Next Generation

Om

Reboot is the dance music community's response to AIDS in Africa. It is a benefit for children orphaned by the AIDS virus. Reboot begins with a spoken word track by Jeremy Sole, making the focus of this record clear as can be by stating that, "Aids is disease that has claimed more human lives thus far than the total of all wars, famines and floods throughout history." For an album benefiting such a horrific situation you would be surprised by how upbeat and alive it is.
There is a myriad of musical styles represented on Reboot. It is fifteen tracks long and spans from afro-beat, spoken word poetry and soulful house to dub reggae. The highlight of Reboot has got to be the dance hall inspired anthem "Truth and Rights" by Thievery Corporation. Adam Freeland's track "Nowism" has a calmer vibe, but this is in no way a bad thing. The beat hits hard but slow. The music is just as much of a plea for help as the lyrics are. Other big names in the dance scene that lend their sound to this record are Louie Vega, Mark Farina, and Miguel Migs.
This is a damn good dance album and one hundred percent of the proceeds for it go towards building a learning center/home for 60 children and the pubic youth of South Africa. The AIDS situation there is a travesty, and this record is an attempt to help humanize the disaster. So the real question is why not to buy it? The money will go somewhere other than the pocket of the rich and the album is flawless.
Nick's Single of the Week: Jeremy Sole's "A Call to Action"

Louise Hoffsten - From Linkoping to Memphis

Memphis International

Chances are that you haven't heard Louise Hoffsten over here in the States, but I doubt that would really bother her. She may be next to nobody here in US, but that is all about to change. Overseas its a completely different story. She is one of the most widely respected contemporary artists in her native country of Sweden, and carries numerous gold and platinum albums under her belt. Although she grew up in the small Swedish town of Linkoping, this album was recorded almost 5,000 miles away in Memphis. You can hear the influence Memphis had.
This is soulful R&B. Her voice is soft and sweet, but in no way is it weak. Her accent slips out slightly, adding a new twist to such a traditional style. It's amazing to think that before this recording she had never met the musicians that backed her. This is because the songs flow so naturally, dancing gently between her soulful angst and endearing ballads. Some tracks that especially standout are "My Favorite Lie," a wry song about dishonest love and the sensual "Good for You." She masters the ballad skillfully, but this is by no means a sleeper. Tracks like "Shut Up and Kiss Me" and the organ fused "Myggan" sung in her native language will get you right on your feet. It is amazing how well this record turned out, especially considering that she is a voice from so far away fused with Memphis musicians she had previously never played with.

Jason Aldean - Jason Aldean

Broken Bow

This is Jason Aldean's debut album, and I hope it's his last. You think the first song is over until you hear Aldean proclaim, "aww we ain't' done yet!" He should have been. I don't want to call this country. I could best describe it as the horrible love child of alternative rock and country that never left the basement. Lyrically its shit. "I can't hold on, but letting go is something i can't do. Even if i wanted to." I swear that lines been written over and over. The cover features Jason himself with dreamy blue eyes gazing at the viewer wearing a cowboy hat and a button-up shirt that fades out of focus. He is a pretty boy and his voice is smooth. Its disgusting how good the man looks. This is country not the god damn Backstreet Boys. Jason Aldean is the perfect example of a lovely tradition being cut up and butchered into the pop formula and it works. The album is as marketable as can be. The man will probably become a star and that is truly a shame.

The Gabe Dixon Band - Live at the World Cafe

Reprise

Who is Gabe Dixon you might ask? You don't realize it but you have probably heard him more than once. This is because he has spent a portion of his career playing keyboard for Paul McCartney, Alison Krauss, and Loggins & Messina. Does the post 9/11 "Concert for New York" ring a bell? That was Dixon playing keyboards for Sir Paul McCartney himself. Aside from backing up stars, his own band is a piano driven trio that fuse pop, rock, and soul serenely.
Unlike most live albums "Live at the World Cafe" sounds more like a studio recording than a performance, proving that they are a tight live act. The EP has only six cuts including an impressive Hendrix cover of "Hey Jo" where Dixon takes a calmer approach to the classic. As far as the rest goes, i would call them ballads before i would call them songs. I get a a definite Ben Folds feel from this recording, but its sounds like Ben Folds without his sense of humor. The most sung about subject in the world is love and Gabe Dixon is no exception to that fact. Every song is a mid-tempo romance that fits tightly to a pop song formula, breaking this only for what seems like some slight improvisation towards the very end of the last track. What is odd is that Dixon seems to be singing pop songs without the voice of a pop singer. He sounds more high-pitched and adolescent. To sum the album up, "Live at the World Cafe" consists of five mediocre love songs and one hell of a Hendrix cover.

Ride a Cowboy - Pickin' on Big & Rich

CMH

Debuting their first single in February 2004, Big & Rich galloped onto the charts and into the hearts of country fans faster than a thirsty horse to the trough. By the time their full-length release ("Horse of a Different Color") hit store shelves in late spring, it was one of the most eagerly anticipated debut records in music history. It shot to #1 on the charts as fans young and old alike grabbed onto the duos bold, straight-shooting tunes.
This instrumental bluegrass tribute to Big & Rich's entire debut record will have you stomping in your favorite pair of boots. Played by some of the greatest bluegrass musicians of today, these renditions capture what's truly at the hear of Big & Rich: Great melodies, big hooks, and a festive feel that will make you want to move. Honestly i like this instrumental tribute more than the album itself. These songs end up sounding like a soft style of bluegrass.

Various Artists - The New Un-Cabaret Comedy Album: The Good, the Bad, and the Drugly

Un-Cabaret

The Cover of this album is a Clint Eastwood esque silhouette of a cowboy smoking a joint... It also costs fifteen dollars. At first glance most people would probably say "hell no" and overlook it, but we are going to take the time to actually let you know what this is. Its a benefit album for the Drug Policy Alliance, the nations leading organization working to promote drug policies who are "grounded in science, compassion, health, and human rights." Inside the album the liner reads, "In our vision of tomorrow, people are not punished simply for what they put in their bodies, but only for harm done to others." This is an amazing vision, but basically its an album of celebrity war stories.
I listen to this and wonder if I am at work or sitting in a UC Santa Cruz dorm room smoking a bowl. You will seriously hear the words "dood, i was sooo stoned" way to many times on this album. When describing this compilation our editor said, "they should be thrown under a fucking subway and left to die or stuck in a traffic jam for the rest of their lives!" This album does have a few humorous moments, but honestly you should save your drug money for drugs, not shitty comedy albums.

Bonnie Raitt - Souls Alike

Capitol/EMI

"Souls Alike" is Bonnie Raitt's eighteenth album since her self-titled release in 1971. This month Bonnie begins a year long tour for "Souls Alike," continuing the Green Highway eco-partnership she began on her last tour promoting BioDiesel fuel, respect for the environment, and alternative energy solutions at shows and benefits along the way. Seeing Bonnie still hold onto her convictions after all these years shows that she still has heart, and that is clear on the album as well.
"Souls Alike" has the usual elements that make Bonnie Raitt's songs what they are. At 55 years old her slide guitar playing and pop friendly yet folky melodies still carry their weight. There are some lows to this release. "Love on One Condition" is a "bluesy" love song complete with honky piano and a maybe a little too much of Bonnie's soulful vocals. On tracks like this i can't but feel like im hearing a folk singer forcing themselves to sing the blues. "Deep Water" is her most experimental track on the record, but the loops end up sounding more like my computer turning on than a beat at times. This may be true, but we shouldn't let these elements bring the record down. Her voice is as strong as it ever was and she should be thrilled of where she has ended up, still on the road.
***So Nice, Gotta Do It Up Twice (Created by the Original NYC DJ, Jocko, 1955)***

Martina McBride - Timeless

RCA

This is a tribute. Not to anyone in specific, but to country itself. Listening to it feels a bit like stepping into a classroom on the history of country. It is basically a musical documentary. Martina plays her favorite songs, the classics that got her started and helped carry her to the place she is at today. Over thirty tunes were recorded in the "Timeless" sessions, and Martina's favorite thirteen made the album. Martina herself is as authentic as they come, and has been singing some of these songs since was just a little girl. She was raised on a farm and started early in 1973 when she joined her father's band at just seven years old.
Her authenticity and handle on the country tradition carries into the songs, especially when she sings the Hank Williams classic "You Win Again" and with enough heartache to do it justice. Respects are also paid to Johnny Cash with her take on "I Still Miss Someone" which is sung so harmoniously when she is joined by Dolly Parton. The editor himself fell deeply in love, not only with Martina but with her version of "Independence Day" a ballad of her parents feuds not featured on this record. Some other artists she pays homage to are Kris Kristofferson, Buck Owens and Merle Haggard. Hopefully this album with succeed in doing what Martina wants it to, "inspire someone to go back and listen to the originals and discover how wonderful traditional country music is."

Johnny Cash - Life

Columbia

"Life" is the final release organized by the late Johnny Cash. Cash himself sent the final track listing for the album to his manager just four days before his death. He picked these songs to help summarize his days on earth, and represent his personal take on life. They are some of his most personal songs, touching on the topics that were most important to him: family, love, tolerance, salvation, justice, fun and pride. "Ragged Old Flag" is a spoken word track of true patriotism, telling the metaphorical story of a torn up flag that has been shot up, burnt, disgraced by its own government, dragged through numerous wars and yet still makes it up every morning hanging high above a courthouse. It a song about being proud of this nation despite its rough history and the wrong it has done. "The Night Hank Williams Came To Town" speaks of a time so long before my own and yet when I hear this song its almost as if I was there.
In his last days, Cash must have thought back not only to the glamourous times he had lived, but also to the ordinary ones. He lived a life like so few people ever will, yet when he put together this compilation representing his seventy years of living he focused on moments that the every day person could understand. He picked songs about the kind of life we have all had. "Life" ends like a goodbye with a spiritual track chosen by Cash himself to end the record where he pleads "lead me gently home father. Lead me gently home."

Brian McDade - Love Bayou

OTN Production (release date: September 27th)

This is a different sort of country, Scottish country. I know what you are probably thinking, what the hell does Scottish country sound like? As far as Love Bayou goes its poppy, emotional, and layered. This probably isn't for the strict country fan. The borders are a bit fuzzy in that it is not your traditional sort of sound, but yet the influence is obviously there. The opening track "Houselights" has the stunning sound of an old Hammond organ ringing over the mix like a ghost from the past. This organ carries throughout most of the album as if McDade and the Hammond are singing a duet.
McDade's voice is simple. His style of singing isn't over the top, not too dramatic, its no drawl, but its not boring. His style is just right. There is something different about this record. "Love Bayou" was recorded in just three days, giving it an honest and not over done feel to it. The songs still sound potent, especially for someone who has had a musical career of over thirty years. McDade gives credit to Van Morrison as being one of his biggest influences and this is apparent in "Paris" where he sings "Paris, Paris I'm missing you tonight, Paris, Paris I long to hold you tight." This is our personal favorite from the album. If you are looking for something that still has a country style, and also strays far from home, this is it. It won't disappoint.

Baily - Reusable Container

Nowhere

Shelton himself was lucky enough to meet and see her at The Ugly Mug, a local coffee shop where she gave him her cd and he gave her a few words of advice. Shelton described seeing her play live by saying, "she hit you with the spirit that one loves to see. Rather than just stand there and sing, there was a lot of life in her soul and feeling in her songs. You could see the pain and you could see the joy depending on what kind of song she was performing." Lucky you can get a copy of her record at www.bailymusic.com. I hope I can be there for her next show at the Ugly Mug in Soquel, CA on October 15th.

Music from the Motion Picture - Forty Shades of Blue

MerLess/Memphis International (release date: September 28th)

Forty Shades of Blue stars Rip Torn playing the role of a legendary rock n roll producer with Darren Burrows as his estranged son and Dina Korzun as the woman caught in between them. It was shown at the Sundance Film Festival and ended up leaving with its top award. I can't help but wonder if the directed of "Forty Shades of Blue" thought up his dream soundtrack and than created a movie around it because this piece of plastic is a dream come true. I mean the film is great, but this soundtrack stands strong on its own as a phenomenal compilation of blues, folk, and R&B.
The album is lucky enough to feature songs from the late Bert Berns who has written timeless hits such as "Twist and Shout" and "Piece of My Heart" yet somehow has never really gotten the praise he deserves. There are four of Bern's works featuted on this soundtrack. My personal favorite being the opening track "A Little Bit of Soap." Reba Russell sings Berns' words with such soul that you'd think she wrote this hit herself.
Another classic on the album is the down tempo blues "Snowed In." In this story of being caught in a snowstorm guitar king Albert Collins' also know as the "master of the telecaster" uses his instrument to simulate the sound of his snow beat car so well that you doubt its really his tele. "No room for a Tramp" takes things back to a more old-timey folk feel with fiddle, bar-room style piano, and sweet southern harmonies. This soundtrack is such a well compiled and diverse collection that it might be just the thing to carry some old souls back into the spotlight.

Mary Timony - Ex Hex

Lookout

Every time I listen to a Lookout release I can't help but think back to how many influential punk staples such as Operation Ivy's "Energy" they have had a hand in. Obviously Lookout has since moved on from releasing strictly punk rock and Mary Timony is more evidence of their attempt to branch out. Enough history though. Lets get down to this "Ex Hex." Mary's guitar playing is technical but not overplayed. The reverb is heavy on this entire recording. Not to mention her guitar and her voice. She sings with a hint of sarcasm, but it seems heartfelt. She is not trying to over do it. With lines like "Hard times are hard to forget. None of us want evil friends," the lyrics are simple and straight forward, but this isn't necessarily a bad thing.
This recording is interesting, but i don't want to give it to much credit. If it weren't for this simplicity the complexity of her playing combined with the production of Fugazi's drummer, Brendan Canty might have come off as a bit overwhelming. Her sarcastic indie style of emotionless reverb drowned vocals are definitely a bit played out. It would be nice if she sang with a bit of the passion she plays with. "Ex Hex" is not a bad release for a label that is said to currently be in debt to Green Day, and it does warm the heart to know that this was probably put out on money owed to them. Judging by this album, I doubt the boys will ever get it back.

Eric Clapton - Back Home

Duck/Reprise

"Back Home" is Clapton's first time releasing new original material in almost five years. The recording process took over a year, and was made within the same sessions as Clapton's Robert Johnson cover album "Me and Mr. Johnson," but those legendary songs didn't carry over into "Back Home." This is something else. Clapton must have gotten all his angst out playing those delta classics because this is one of his calmest and most focused releases that I have ever heard.
Almost every track is complimented by a horn section. The debut single "Revolution" is the closest thing to reggae that he will ever create. It is also the catchiest thing I've heard all week. Its got a slow vibe, a walking bass, upstrokes on the guitar, a wailing organ, a chorus of women backing him vocally, and, of course, Clapton's signature lead lines played so skillfully over it all. "Lost and Found" is a step back to traditional Clapton. It is a 12-bar blues that is simply a good old thing done right. As a married father of three young girls its amazing that this record happened at all. Lines like "Now Mama's getting' snappy and Daddy won't change no nappy," show that these songs are about the family life. For Clapton, "Back Home" is more than just a title. When talking about the album he said that "It's about coming home and staying home."