If Amos Lee’s 2005 debut was the cross-marketed phenom that introduced him to baristas and coffee moms across the country, and its 2006 follow-up proved that he actually could deliver the soul-flecked rootsy goods in a legitimate fashion, then Last Days at the Lodge is where he flexes both his creativity and his credibility. Producer Don Was brings his predictably solid skills to bear on Lee’s sound, amplifying both its most accessible (“Listen”) and heartfelt (“What’s Been Going On”) attributes. The rich production, along with musical assistance from all-stars like Doyle Bramhall, Jr. and Spooner Oldham, positions Last Days as a record that’s as ambitious as it is well-funded. Thankfully, Lee loses neither his voice nor his soul in the process. For such a young man, he evinces a surprisingly well-worn singing style that’s as evocative of ‘70s soul as it is singer-songwriter introspection. Wielding that voice in tandem with these beefy tunes results in an album that’s both warmer and stronger than a double latte.
Standout Tracks: “Jails and Bombs,” “Won’t Let Me Go”
First appeared June 2008 in Blurt.
Buy this CD at Amazon.com.
Categories: Uncategorized
Pissing on expectations is something the Melvins have gotten pretty good at. But Nude With Boots is perhaps the group’s most surprising record yet. After expanding their ranks to a quartet by absorbing the post-metal duo Big Business and proceeding to demolish intestinal tracts worldwide with their new, double-drummer lineup, the Melvins have released an album that actually comes across as kinda weak. Not “weak” as in “lame,” but “weak” as in “lacking strength.”
As one of the few heavy rock groups who can get their fans to tolerate hour-long noise-blasts and experimental electronics, it remains to be seen if those same fans can swallow the bland, classic-rock urges that manifest themselves on Nude. A few cuts – “Dog Island,” “The Savage Hippy” – find the Melvins going for the jugular, but the majority of this disc is surprisingly uninspired and tame. Wielding two exceptional drummers should result in an overwhelming percussive attack, but the straightforward, four-on-the-floor dreck of “The Stupid Creep” and “Nude With Boots” would be unacceptably bland even from the White Stripes. Combining that with the reedy, downmixed guitar work of Buzz Osborne and the most threatening band on the planet has suddenly become impotent. Which is quite unexpected indeed.
Standout Tracks: “Dog Island,” “The Savage Hippy”
First appeared June 2008 in Blurt.
Buy this CD at Amazon.com.
Categories: CD reviews · Music
Tagged: big business, blurt, melvins, metal
