The Bridges

THE BRIDGES
"LIMITS OF THE SKY"
(Verve Forecast, 2008)


"One I Love"


When I first heard The Bridges (on a listening station at Virgin Megastore), I was immediately reminded of a sunshiny jangle-pop group from the early '90s called The Sundays. Then the slightly bouncier songwriting of The Beatles came to mind ... then the dreamy harmonies of The Mamas & The Papas were what I recalled next. Suffice to say, this North Carolina quintet (consisting of four siblings and their cousin) somehow manages to incorporate the best of all these groups and more.

The lyrics occasionally get a little introspective, but never enough to bring down the mood. The album's varying instrumentation (some songs are guitar-based, some are piano-centric) and Brittany Painter's delightfully airy vocals make it a joy to listen to. The album effortlessly bounds from one irresistibly buoyant song to another, but the whole time it avoids sounding repetitive or cloying ... an achievement the group owes in no small part to having power-pop veteran Matthew Sweet as the album's producer.

This album couldn't have had a better title, because the sky really is the limit for this band, provided they're able to keep up their boundless optimism and pretty sound for a second outing. Plus, I've gotta hand it to any band that makes me regret getting rid of a CD (The Sundays' "Reading, Writing & Arithmetic") that I haven't thought about at all for years.

B4-4

There's been a distinct lack of cheesy boyband pop on this blog lately, so....

B4-4
"BEFORE FOUR"
(Columbia/Canada, 2000)


"Go Go"


Comprised of identical twins Dan and Ryan Kowarsky, and Ohad Einbinder, B4-4 was signed to the Canadian division of Columbia Records after angling an impromptu audition for a record company executive. That gutsy gamble paid off with an eventual Juno Award nomination for best new group following the release of their debut album.

Sure, "Before Four" may not measure up to some of the other boyband releases coming out at the time -- in terms of either quality or album sales (Backstreet Boys, NSYNC and A1 were all still basking in the glory of their most successful releases) -- but there's enough talent and appeal in this mix of sweet, smooth ballads ("Smile", "Savin' For a Rainy Day") and groovy, energetic dance tracks ("Go Go" and the very cheeky "Get Down") to see why the Juno Awards took notice.

After releasing one (or was it two?) subsequent albums in Europe, the trio went their separate ways, with the twins venturing into Il Divo territory and releasing a classical-crossover album under the moniker RyanDan in 2007. One could see even back in 2000 that the Kowarsky twins had voices that would take them far.

Dave Barnes

DAVE BARNES
"CHASING MISSISSIPPI"
(2006)


"Everybody But You"


I first became aware of Dave Barnes when the track "Everybody But You" appeared on a Paste Magazine sampler CD a few years back, but I ended up waiting nearly two years before finally picking up this album ... and I'm sorry I waited that long. The album's title notwithstanding, there's little doubt that Barnes hails from the American South, with most of the tracks slathered in blues and funky soul, like a pat of butter on a thick slice of cornbread.

When he's not kickin' out the southern R&B, he lays down an equally tasty '70s-throwback AM-radio groove on "Someday, Sarah" and "Stay Away" (in the latter of which he bears a striking vocal resemblance to Don Henley), crafts tender country balladry on "Jackson" (featuring an appearance by Vince Gill) and "I Have And Always Will" (with Amy Grant), and pounds out a contagiously joyous gospel jam on "All That Noise".

No wonder "Me + You + The World", Dave Barnes' major-label debut from earlier this year, left me so cold ... it's because this one was such a tough act to follow. Dave Barnes is a man of faith, but fortunately for me he keeps his music largely secular here (as does Matt Wertz, a friend of his who actually makes an appearance on this album as well). I'll have to do a little investigating to see if his debut album is worth getting, too....

O.A.R.

O.A.R.
"ALL SIDES"
(Atlantic, 2008)


"Something Coming Over"


I've never cared much for "jam bands" (as broad a musical taste as I like to think I have, I mostly prefer my songs in easily digestible, three- to four-minute pieces with a fairly clear verse-chorus-verse-chorus structure), and from what I gather, New Englanders O.A.R. fit firmly into that category before their 2005 mainstream breakthrough album, "Stories Of a Stranger". So it's no surprise that they flew well under my radar until I fell victim to that über-catchy nugget of ear candy known as "Wonderful Day" -- complete with a saxophone which, for an '80s kid like me, is kind-of hard to resist.

At the risk of alienating their old-school fan base, O.A.R. is forging ahead with the formula that made their previous album a success, and I for one am liking this album even more. Marc Roberge's resounding vocals are still fantastic, and the band arrangements are as tight as ever. Their reggae and ska influences can still be heard in several of the songs, but they also do a fine power ballad ("Dinner Last Night"), a simply beautiful acoustic number ("The Gift"), and a swaggering rocker ("Living In The End") that sounds like a cross between Bon Jovi and Creedence Clearwater Revival. There are the obligatory radio-friendly hooks ("Try Me" and first single "Shattered"), but they also indulge in the occasional spread-out tracks ("Whatever Happened", "War Song") that let them strut their stuff. This album truly does show "All Sides" of this fine band, so it's hard to get bored listening to it.

I always wonder how groups like The Dave Matthews Band approach the decision to abandon (whether temporarily or permanently) their meandering, improv-heavy style for a more compact, radio-friendly sound. It's undoubtedly a double-edged sword, as they're sure to lose plenty of their traditionalist fans in a bid to win over new ones -- not that gaining popularity or sales is necessarily their goal. But in the case of O.A.R., it's worked with this guy; I've found a new band to love. In fact, the more I read about their 2003 album "In Between Now And Then", it doesn't appear to be as jam-bandy as I assumed it was, so I'll probably be checking it out, too...!

Tally Hall

TALLY HALL
"MARVIN'S MARVELOUS MECHANICAL MUSEUM"
(Atlantic, 2008)


"The Bidding"


Here's yet another one of those CDs that I stumbled upon at the store, having never even heard of the artist before. The album's title is what intrigued me first (after shaking off its unfortunate resemblance to the mediocre Dustin Hoffman movie "Mr. Magorium's Wonder Emporium"), as did the curious cover art. This is a case in which you can judge a book (or CD, as the case may be) by its cover, as Michigan-based Tally Hall throw together a surprisingly coherent hodgepodge of sounds for their self-produced major-label debut.

These guys are entirely original pop-rock artists, but at the same time they'd fit right in with the more quirky, whimsical acts like They Might Be Giants, Madness, and (as a far-lesser-known reference) The Uninvited. Like Frank Zappa and Queen, they take serious left-turns in the middle of their songs, with changes in key, tempo, or sometimes the whole style of the song. They toss in a rap here and there even though they know they sound totally uncool -- and that makes them even cooler. One of the best comparisons, I think, would be to Barenaked Ladies' earlier material: they can bring on the silliness in full force, but at the same time they can write a killer pop song.

If there's one thing this album might suffer from, it's inconsistency ... but even that's limited to just one track that is a complete and total throwaway ("Two Wuv") -- unless I just didn't get the joke. But put that against all the good songs here -- the aptly titled "Taken For a Ride", the apparent "Day-O" sequel/tribute "Banana Man", the cute and clever "Haiku", the straight-faced but excellent "Just Apathy", and the tour-de-force closer "Ruler Of Everything" -- and it's a very small complaint about an otherwise great album.

George Stanford

GEORGE STANFORD
"BIG DROP"
(Mercury, 2008)


"Big Drop"


I had a feeling this album would be good when I listened to the soundclips online the first time, but it still surprised me how much I'd love it. George Stanford doesn't try to knock our socks off with either his songwriting or his singing, but he somehow manages to do so, at least with me. His phrasing is mature, but not pretentiously so; and his voice is earthy and real, but not impeccably perfect. But that's his style, and this album is all the better for it.

My current favorite track is the Jason Mraz-like "Get Free", with its insanely catchy chorus. "Let's Stay Here" has a kind of Paul Simon vibe, but with a bit of a country sound. There's the pseudo-funky title track, and the sunny '70s throwback "30,000 Feet". But then, every song on here is a keeper ... I'm even starting to like "Downriver" despite that note in the chorus that originally struck me as sounding terribly out-of-place.

Since I can't precisely put my finger on why I like this guy so much, I realize that this review might not be all that helpful, at least not until you check the guy out for yourself. Maybe then you'll find out why George Stanford's "Big Drop" is sitting comfortably in my list of the Top Five albums of 2008, and is unlikely to be removed from it.

Yoav

YOAV
"CHARMED & STRANGE"
(Verve Forecast, 2008)


"Adore Adore"


Just a guy and his acoustic guitar. Sounds kind-of boring, right? Well, just take a listen to this guy. With only a little bit of overdubbing, Israeli/South African musician Yoav has managed to create an amazing atmosphere of sound with just his hands -- whether they're plucking the guitar strings for melody or tapping on the guitar body to create percussion -- and his voice.

Yoav's music is almost uncategorizable, because most of the time he sounds like pop, R&B, Latin, world music, and soul, all stirring around at once in a gentle whirlwind. The phrase, "There's no one else out there like him," is tossed out there far too often when an up-and-coming musician appears on the scene, but with Yoav it's completely and totally true.

This is, without a doubt, one of the most stunningly unique albums I've heard in years. If you don't run out (or jump online) and get this CD after listening to the tracks "Wake Up" and "Sometimes...", then -- well, maybe you just don't get him ... which I suppose I shouldn't hold against you, because this is the kind of album that I wouldn't have gotten as recently as five or six years ago.

Oh, and read his biography here (in the form of a PDF file) ... just as fascinating as the guy's music.

Peter Grant

PETER GRANT
"TRADITIONAL"
(Universal/UK, 2007)


"On The Beach"


I was vaguely aware of the existence of Peter Grant a couple of years ago when his debut album "New Vintage" was released, but my curiosity never grew to the point of actually compelling me to purchase it. But as I was flipping through the racks at Amoeba last month, I happened upon this, his second album, which I didn't know existed. Its price tag was all of ten dollars, so I decided this was my chance to give the young British crooner a try.

Peter Grant can probably best be described as the UK's answer to Michael Bublé, as both are young and handsome, have smooth and appealing voices, and sing in basically the same genre of music. There are a couple of differences, however: Grant's voice, though having a similar timbre to Bublé's, is a bit deeper; also, Grant relies less on classic standards and puts more original material on his albums.

The track on this album titled "That's Life" is not the song made famous by Frank Sinatra, but rather a more upbeat and inspiring anthem (complete with some first-class vocal scatting). Nor is "Let The Good Times Roll" the '50s sock-hop staple, but instead a Rat-Pack-inspired bouncer. There are some covers here, though -- Grant's take on "Until You Come Back To Me" is more reminiscent of Basia's jazzy rendition than the Dionne Warwick original; "On And On" is a cover of Stephen Bishop's neglected '70s soft-rock hit; and I dreaded hearing his take on the chronically tired and overdone Turtles song "Happy Together" until being pleasantly surprised by this fresh big-band arrangement of it.

The rest of the 13 tracks included here are pretty darn enjoyable too: the samba-flavored opener "Traditional" ... my current favorite "You're Worth It" ... the superbly sensual duet "You Don't Know (How Glad I Am)" with Belle Erskine ... and the closing celebration of music (hmm ... now I have two favorites!) "Never Too Far Away From a Song". All in all, this is one of the better albums I've come across so far this year -- and this is coming from someone who usually gets bored a bit quickly with this sort of stuff.

A Major Hang-Up

I think I might be a big fat hypocrite. You see, late in my vacation last month, as I was browsing the CD racks to my heart's content, I realized that I have the nasty little habit of flipping the case around and looking at its back side ... specifically, I zero in on the copyright information. And it occurred to me what happens when I do that. For all the ranting I do about my distaste for the major record labels, I found out that I'm actually more likely to buy a CD if it's manufactured, marketed, or distributed by one of them ... and I'm more likely to put it back on the rack if it's from an independent label.

Why do I do that? What difference does it make? I've asked myself and am still not sure of the answer. It can't be the quality of the physical product -- a CD is a CD is a CD. (Indeed, the one time I can remember having a problem with a CD being unreadable by my player, it was actually a major-label release ... the unfortunate victim of an isolated manufacturing defect.) And it's not any worries over the audio -- the resulting product's sound quality is determined through the studio and its engineers and producers, long before it ever reaches the manufacturing phase.

So why am I the dreaded creature I swore I'd never be: a label whore? Part of it is my ever-present fear (for lack of a better word) of accidentally purchasing Christian music that's cleverly disguised as secular (not that there's anything wrong with people who like it); major labels usually keep their rosters as praise-free as possible and leave the religious stuff to the independent companies. But I imagine the other big reason would be familiarity. Who doesn't find a bit of comfort in the trusty old labels like Warner Bros., Columbia, Capitol, Arista, RCA, MCA, Mercury, Polydor, Motown, Island, etc.? When you recognize that logo nestled in the corner of the back cover or on the end of the spine, you (or at least I) get that warm twinge of a "This must be good, 'cause these guys have been around forever and know what they're doing" kind of feeling.

It sounds silly, I know. And yes, I've found several great albums on independent labels, be they newly discovered artists or old favorites who have (wisely) broken free of the majors and gone out on their own. But hey, what can I say? Maybe I am, to an extent, a label whore (but only in terms of CDs ... you won't see me buying that ridiculously overpriced junk that A&F, Tommy Hilfiger, Hollister and Aeropostale peddle in the malls). Isn't admitting your weakness the first step...?