Album: Norah Jones: Little Broken Hearts (Blue Note, 2012)

Norah Jones has substantially developed since 2002 when Come Away With Me brought her to the radio waves and a boatload of awards (7 Grammies alone for that album as well as The Big 4 – Album, Song, and Song Of The Year, and Best New Artist). Throughout the last decade of her career, she’s opted to never pigeonhole herself with collaborations and side projects ranging from country to hip hop.

Still, Little Broken Hearts has such a different sound than we’ve come to expect from her. Much of that can be attributed to the album’s producer, Danger Mouse. They first collaborated on last year’s Rome which hinted at their possibilities. With eerie pianos and synthesizers and interesting mixtures of acoustic and electric guitar, storm clouds loom over the record to give it a dark edge.

As the album title implies, it’s a breakup album. Whereas Adele’s expertly crafted 21 had glimmers of hope, Jones’ effort wallows in its agonizing emotions. It’s just another side of the complex feelings humans endure with heartache. Perhaps no track signifies that sentiment better than the creepy “Miriam” which gloats with the evil opening lines, “Miriam, that’s such a pretty name / I’m gonna say it when I make you cry.” From there, it progresses into torturous dialogue without ever getting vulgar, making it all the more powerful. Ten years after Don’t Know Why, who could have predicted we’d be mesmerized by a Norah Jones murder ballad?

Even the lead single “Happy Pills,” with its catchy melody and hook, possesses a certain vindictiveness as she sings, “How does it feel to be the one shut out?” Still, it’s the story of a woman fighting for her happiness against a man who has wronged her multiple times, and it resonates.

As much of a star as Jones is vocally on the album, Danger Mouse’s production is equally as bright. The synth chimes are absolutely ethereal, recalling Goldfrapp’s “Pilots”. With the pair covering a good portion of the album’s instrumentation (and it’s not to be missed that other contributors including Heather McIntosh, Blake Mills, Joey Waronker, and Gus Seyffert alongside the Sonus Quartet are also stellar), the overall feel is uniform even as individual tracks have their own distinct sound that even follows through to the bonus CD (3 tracks that are featured on Target’s deluxe edition as well as some international editions).

With Little Broken Hearts we hear that there is little territory, thematically or musically, that is out of Jones’ ability to completely own and for us to enjoy. Ten years later, she is proving that her Best New Artist was indeed well deserved.

A variety of releases this week including live, new studio recordings, and reissues.

SPOTLIGHT RELEASE

Sade: Bring Me Home Live (Epic)
File Under: R&B

Perhaps the greatest live show that I’ve ever seen releases on CD/DVD combo pack, digital, and Blu-Ray . (Sorry, no CD/Blu-Ray combo pack that we’re aware of.) With stunning stage production and breathtaking musicality, everyone who I attended the concert with was blown away.

See why:

John Mayer: Born And Raised (Columbia)
File Under: Pop

Mayer’s new album features artwork that looks like it should adorn sheet music printed in 1915 with its busy background, old-time font, and phrases like “Stereo Recorded Sound” and “Music By John Mayer.” While “Shadow Days” isn’t his best work, it does feature an exquisite guitar solo. Elsewhere, there are hints of alt-country flavor to mix in with the bluesy guitar that Mayer is so well known for.

Word has it that “Something Like Olivia” is a reference to Olivia Wilde, although the connection goes no further than that. So there’s no controversy to be had such as his comments about Jennifer Aniston and Jessica Simpson in the past. Perhaps the most enjoyable tune on the album is the reprise of the title track as it seamlessly mixes some organ and a tumbleweed harmonica solo over a country swing beat.

There isn’t an overproduced quality to the album as much of it is quite organic, a sound that suits him well. While Continuum remains his crown jewel, Born And Raised is a step above his previous effort Battle Studies.

As of this writing the album is still streaming through iTunes, and Complex’s website provides a link there. A bonus is that the iTunes-exclusive track, “Fool To Love,” is streaming along with it.

Various Artists: Philadelphia International Records: The 40th Anniversary Box Set (10-CD) (Harmless)
File Under: Soul

Technically releasing on Monday as it’s a UK release through Harmless Records, the set chronicles the wonderful sounds of Kenny Gamble and Leon Huff’s PIR and The Sound Of Philadelphia

A few things to note of why this set is worthwhile:

*Harmless Records is led by Ian Dewhirst, a renowned soul music enthusiast
*Ralph Tee, an expert in all things PIR, compiled the set
*Over TEN CDs(!!) you get 12.5 hours of music
*A complete discography of the label and its sister labels contained within the booklet

We’re still completely baffled that Legacy, which owns the US rights to compilations for PIR, is not announcing more titles to celebrate the 40th anniversay of PIR, one of the few labels to challenge Motown’s supremacy in the 1970s. With a compilation like this, they may not need to.

As a note, it’s a better bargain to buy this through Amazon UK as opposed to Amazon USA’s site (about $44 difference).

Albert King: I’ll Play The Blues For You (Fantasy/Stax)
File Under: Blues

Someone much wiser than me once said that there is a holy trinity of Kings in the blues business: Albert, Freddie, and B.B. Here you get 1/3 of that group, but you also get the addition of The Bar-Kays and The Movement as the rhythm section AND The Memphis Horns. One listen to the guitar solo on “I’ll Be Doggone” (yes, the Marvin Gaye tune) will show you why he is held in such high regard.

The release is a continuation of Concord/Fantasy’s foray into reissuing various Stax longplayers. Like others in the series, Joe Tarantino is the remaster maestro while Bill Dahl collects thoughts, facts, and figures in the liner notes.

“Don’t Burn The Bridge Down” and the title track each are represented by different takes on the song. The latter eliminates the horn buildup intro altogether (they horns are featured prominently thereafter), although “I’ll Play The Blues For You” still remains a strong number in King’s canon.

Witch: We Intend To Cause Havoc (4-CD) (Now Again)
File Under: Global Grooves

Yep, the group’s name is an acronym for their actual name. They portrayed a wide range of styles as evidenced by “I’ve Been Away” from their In The Past effort. For those who think music from the continent of Africa always sounds like a Fela Kuti-inspired effort, Zamrockers Witch show you that there is a rock side to the continent as well.

Both CD and vinyl box sets are available, although the vinyl will cost you more than three times the amount. The packaging for the CD set is a tall hard cardboard material with a booklet inside that contains a full discography and some wonderful pictures. The paper is high quality, but the music is the main force at play here. The discs themselves are picture discs and contain all of the group’s work.

Egon, head of Now Again, has struck the jackpot again with another high quality release.

Various Artists: Eccentric Soul: Red Black Green Production (Numero)
File Under: Soul

Our friends in the Windy City set their sights once again on our capital city. While previously they released Father’s Children’s album, here they focus on Hosea Williams and his RGB Productions company. Father’s Children were beneficiaries of Williams’ talent and are featured three times in this collection alone.

The collection has a touch of everything on it, but there are a host of uptempo cuts. “We’re In Love” features a great bass line while a falsetto-voiced male singer takes the stage. The intro is some straight funk blues, though, before the vocals kick in. Slow jams aren’t lost in the shuffle, however. Dyson’s Faces present “Don’t Worry About The Joneses” and Ship Mahoney & The Casuals’ “We Share Love” are exemplary work in the field of harmonizing.

Sound clips are available on Numero’s site.

Paul McCartney: Ram (Concord/MPL)
File Under: Pop

Although Ram wasn’t met with the warmest of critical praise upon its release, throughout the years it gained in popularity. Many Macca fans even cite it as their favorite album in his multi-decade run .

Strangely, even though the self-titled McCartney album was released first, this set for Ram contains the songs released as Paul’s first US 7″ (“Another Day” and “Oh Woman Oh Why”). The album was much more produced than, say, McCartney, but it features Paul fully embracing his newfound freedom as a solo act (although Linda, his wife, was featured prominently).

Hardcore fans will want to strongly consider the 4-CD/1-DVD super deluxe configuration for a couple of reasons relating to music: 1) it containss the first commercial CD release of the mono mix of Ram which was previously only issued to radio stations in the 1970s and 2) the Percy Thrillington album contained in the set has an orchestral approach to the primary album. For many years, there was a mystery surrounding that album before Paul finally came clean as to his involvement.

For more casual fans, a single CD standard edition exists, but a 2-CD deluxe edition with bonus tracks provides the best value. If vinyl is your bag, releases in both stereo and mono (the latter is a limited edition) formats are also available.

So many choices!

Leo Sacks (right) working with his production partner Ray Bardani at the console during a mix session for "The Intimate Luther Vandross" at Wyman Recorders in Burbank, CA.

Leo Sacks has compiled and produced more compilations for Sony/Legacy than Quaker’s got oats… or so the saying goes. With over 300 titles to his production resume from the likes of Marvin Gaye, The Isley Brothers, and artists from the Philadelphia International Records stable, it’s enough to stock its own record store (or hall of fame). To that notion, a few titles have been featured on Sony’s PopMarket direct-to-consumer webstore including last year’s Earth, Wind, & Fire Complete Columbia Masters Collection and Aretha Franklin’s beautifully packaged Take A Look: Aretha Franklin Complete On Columbia.

The latter set is 1) HIGHLY recommended and 2) essential to our understanding of how she became a star. Through some grooming and hard work, she earned her spot in the royal court. At her next label, Atlantic, she was coronated.

Sacks guided us through those early days, and is now in the process of narrating us through her follow-up label, Arista. Recently, we caught up with him while he was chasing his two-year old son around the house. He spoke with us on Aretha’s legacy and other projects he has been working on.

Record-Racks: You’ve had the difficult yet rewarding task of tackling Aretha’s material which often gets forgotten with her Columbia years. The set was breathtaking.

Leo Sacks: Thanks, Eric. As Grandpa Harry from the Old Country used to say, ‘You’re a gentleman and a scholar.’ And yes, I feel the same way: Aretha’s Complete On Columbia is 11 CDs — and a DVD of performances from the old Steve Allen show — of gestating genius. Right from the start, those first recordings, like “Won’t Be Long” and “All Night Long” dispel the usual take on this period, which is that her talent was wasted. I truly believe the source of Aretha’s own inspiration — the deeply religious nature of her spirit — are here.

RR: What do you think the set shows us all these years later?

LS: Well, I think it makes a convincing case that Aretha was already royalty by the time she made her first album for Columbia in 1960. She was 18 years old, a gospel prodigy in her father’s church in Detroit, brimming with poise and possibility. She had only a few pop hits at Columbia, but taken as a whole, her catalog makes it pretty clear today that she was already singing with the wisdom of the ages.

RR: Why do you think this period of Aretha’s is so artistically misunderstood?

LS: You know, Jerry Wexler and Arif Mardin and Tom Dowd get the credit for their work with Aretha at Atlantic, and deservedly so. But John Hammond was just as influential in giving her the opportunity to flat-out sang. I mean, Aretha didn’t just invent her voice at Atlantic. And I think Take A Look shows how she found that voice — as a singer, as an arranger, as an interpreter, as a spiritually focused artist struggling for traction in an entertainment culture firmly rooted in the secular. She found all of this at Columbia. I think John certainly understood what Aretha was capable of. I think he knew precisely how he wanted to produce her, by showcasing her gospel roots with jazz musicians who could swing, and I think that approach made perfect sense at the time. Could the company have been more open to more r&b-friendly producers at the time? Of course. In that sense, I think the corporate culture at Columbia ultimately failed her.

Then again, it’s easy to forget that modern soul music — the kind that Aretha made for Atlantic — was still evolving when Aretha was at Columbia, which is why her material skews towards jazz, standards and blues. But when you consider the majesty of “This Bitter Earth,” “Without The One You Love,” “Just For A Thrill,” “Evil Gal Blues,” “Lee Cross,” “Sweet Bitter Love” and “All Night Long” for starters — well, her gift is just undeniable. Aretha brought the church to everything she sang. She just gave it up to the Great Spirit. And we all owe a debt of gratitude to Mark Wilder who mastered these recordings from the original analog tapes. Mark is a great artist. He brings an amazing awareness and sensitivity to the process.

The reason these recordings radiate with the warmth of the sun — the reason they sound like Aretha is sitting in your living room — is because of Mark. Look what he did for the legacies of Billie Holiday (Lady Day: The Complete Billie Holiday on Columbia) and Louis Armstrong (The Complete Hot Five & Hot Seven Recordings) and Miles Davis and Gil Evans (The Complete Columbia Studio Recordings).
How he’s helped to make these artists accessible to a new generation… Mark brought that same dedication and devotion, and care and commitment, to making sure we that we got it right for Lady Soul.

RR: What did you want to accomplish with this new set of Aretha’s Arista hits, especially since Greatest Hits 1980-1994 covered a good chunk of that material?

LS: When Aretha cancelled her touring schedule for most of 2010, it was a wakeup call to her friends and fans. And it was only natural to also think about her creative legacy. I felt incredibly fortunate to see one of her first shows back in 2011, a free concert in Brooklyn’s Coney Island, and I was struck by the power of her Arista material. The songs felt so fresh, they sounded so new. I started making the compilation in my head right there. Sony/Legacy’s A&R head John Jackson agreed that it was a good time to revisit this period, and I’m glad we did because I think the CD shows how timeless and adaptable Aretha is with her gift, even when the productions sound dated as they invariably do.

RR: I know you said on the Soul-Sides podcast that she was thrilled with the Columbia set. Any word about her reaction to the new Aretha set?

LS: Aretha’s irrepressible publicist and confidante — the great Tracey Jordan — told me that Aretha was pleased. And pleasing the Queen is what it’s all about.

RR: Is this a sign of things to come from the Arista archives? Much of that material is out of print now, although Funky Town Grooves is releasing an expanded edition of Who’s Zoomin’ Who. It has some cool bonus tracks, like a rock mix of “Freeway of Love” and an acappella mix of the title track.

LS: There is more to come, as Johnny Carson used to say. I’m working now with Jeff James of Legacy’s A&R team on something very exciting — The Complete Arista Singles Collection. We’ll be doing tape transfers with Mark Wilder and compiling them for digital release in late May.

RR: From this latest hits set, what material hits you as being the strongest?

LS: I keep going back to the vibe on “I Knew You Were Waiting.” It’s just so life-affirming. ‘Rea comes out swinging, and George Michael stands in that ring, toe to toe. Between the rhythm and the message, I’d even call it a classic and I definitely wasn’t surprised to hear it performed on “American Idol” this season.

RR: Why do you think she started dueting more in her Arista years? On this set alone, The Eurythmics, George Benson, George Michael, Elton John, Keith Richards, Whitney Houston, and Michael McDonald are featured. Was it her way of trying to claw back in the game? Or was she getting begged by many of these other artists, all acclaimed in their own right in that day and still today, to put material together? Clearly, she has a strong enough voice to stand on her own.

LS: That’s attributable to the intuitive genius of Clive Davis and his brilliant A&R brain trust. They just had a great appreciation for the right material, and especially the right duet partners, and eventually the right arrangers and producers. Clive is the consummate skipper in that way, and he sailed the seas with Aretha in good and stormy weather for almost twenty years.

RR: Are you familiar with Aretha’s feelings on her Arista years now?

LS: I do know that Aretha was gratified by her success at Arista and that it was a productive and satisfying — fulfilling is the word — period in her life, both personally and professionally. And the fact that she’s discussing a new project with Clive is testimony to that.

RR: What was your process for selecting a track list for the new greatest hits compilation?

LS: I prepared a repertoire with Legacy’s Jeff James, and we brought our track listing to John Jackson, the head of Legacy A&R, and John brought our recommendations to Clive, who asked us to add several songs, including “Ever Changing Times,” which was Aretha’s duet with Michael McDonald, and “Jimmy Lee.” It was easy to respect Clive’s call — these records were his babies, after all. But this meant that we had to lose several songs, among them Aretha’s collaboration with C&C Music Factory, “A Deeper Love.” That was personally disappointing because I felt that track really made Aretha relevant on the dance floor again — it was like her Sermon on the Mount for the Nineties, but this kind of give-and-take comes with the territory.

RR: What about edits? Are many of the selections non-single edits?

LS: The short answer is that the CD is a mix of single edits and album cuts. The longer answer is that the project originally began as The Arista Singles, and we were only going to use single edits. Ultimately, Sony’s retail accounts said they preferred a greatest hits package, so we changed the title to Knew You Were Waiting. The repertoire still represents her choice Arista singles, with a much sexier title! But if I had just one more day, as the Big O sang, Jeff and I would have used album cuts exclusively.

RR: Talk a bit about Aretha’s collaboration with Whitney Houston on the Grammy-nominated duet “It Isn’t, It Wasn’t, It Ain’t Never Gonna Be.” The musical backdrop was very different from what we were used to hearing from Aretha, with its new jack swing feeling and James Brown vocal drops and sped-up classic Aretha vocal drops.

LS: Well, as we all know, Whitney’s story is a heartbreak, and I don’t think we can even imagine what Aretha, as Whitney’s godmother, must feel about losing her and how her heart must ache for Whitney’s own mother, Cissy, who of course was Aretha’s musical collaborator for so many years. When I saw Aretha at Radio City Music Hall in March, it was the night before Whitney’s funeral, and she sang an unforgettable version of “The Greatest Love” that’s also on Youtube. I’d like to think that Aretha expressed everything that’s in her heart in that performance. But it’s easy to imagine how proud, and delighted, Aretha must have been the day she recorded “It Isn’t, It Wasn’t.” There’s the emotional drama of singing with little Nippy, the 10-year-old in pigtails that Aretha has known all her life. There’s the musical drama of the catfight — the way Aretha says, ”What you trying to say, Miss Thing?” and Whitney answers, ”What am I trying to say? Don’t dis me, girl.” It’s fierce, and at the same time, it’s pretty playful. Then there’s the inescapable reality of the rivalry itself, the cutting contest between two Queens battling for musical supremacy — and that part is deep.

RR: Any new projects you’d like to mention?

LS: I just finished compiling and producing The Complete Sussex & Columbia Masters for Bill Withers. That’s one for the ages. I’m also trying to find the funds to finish my first documentary film on the New Orleans gospel icon Raymond Myles. Raymond was a towering talent, a cross between Stevie Wonder and Donny Hathaway, and Liberace and Little Richard. He was also a music teacher in the public schools and just a very influential figure in the musical and spiritual firmament in the Crescent City during the Eighties and Nineties. Some of his biggest fans were Harry Connick, Jr. and Dr. John and the Neville Brothers and Allen Toussaint, and he was on the brink of stardom when he was murdered in 1998. I’m very connected to the story because I produced Raymond’s only full-length studio album called A Taste of Heaven. You can see a teaser of what we’ve been able to shoot so far at www.raymondmylesmovie.com — I’ve also posted some “selects” under Raymond’s name on Vimeo. Raymond’s singers reunited recently, for the first time since his passing, at this year’s New Orleans Jazz & Heritage Festival, and they were phenomenal. His presence was so palpable that I wasn’t sure whether he’d join them from stage left or stage right.

RR: Thanks, Leo.

LS: My pleasure, Eric. Thanks for keeping the home fires burning.

Last week, we goofed. We got so excited about the releases for the week that we forgot to finish our lead-in sentence. How embarrassing, but we’d like to think it had something to do with some great quality releases that we were stoked about. Perhaps – just maybe – there was some scatterbrainisms going on, too.

SPOTLIGHT RELEASE

Jazzanova: Funkhaus Studio Sessions (Sonar Kollektiv)
File Under: R&B

The second album this year to feature the Jazzanova name on it. The first was a spin of their work by others, but this one features a live band performing their original music. Sure, it’s not a completely original idea as The Herbaliser has released two sets with the same concept. Still, the results are completely satisfying. While Jazzanova has always maintained a sense of being organic with their past releases, adding a live band really sends it home.

The band’s original output has been strewn about over the 14 years since their debut. In between releases, various compilations – be it remix-based compilations or DJ mixes – have filled the void. This time, though, they are backed by a 7-piece band with the vocals performed by Paul Randolph (who is also a bassist). “No Use” gets a treatment of similar pace to the original but also a funky side-to-side stepping version that buttresses the slow version perfectly.

Additionally, there is an original tune on the album, “I Human,” which has an almost late-’80s pop-dance vibe to it.

Everyone Orchestra: Brooklyn Sessions (Harmonized)
File Under: Funk, Jazz

Hailed on their own website as an “interactive improvisational experience,” leader Matt Butler tries to collect a group of musicians on recorded format. For any band that thrives in a live environment, it’s always a slippery slope to try to capture that magic in a studio. However, that’s where leader Matt Butler’s talents are fruitfully realized. As he states, “Improvisation is something everyone can do. Chops help it sound better, but it’s about not judging and not getting stuck in what’s ‘right.’ There are no mistakes, only opportunities.”

Funk workouts such as “Boots” and “Funk Explosion” are totally fun. (The bass work by Reed Mathis is especially tight on the latter.) However, it’s “Explore Space,” a sprawling, uptempo number that really builds into something special. Aided in part by numerous key solos, none is better than that by Marco Benevento on keys. “Take Off Your Clothes” is another builder on the album as well.

If musical adventures are what gives you eargasms, give a listen to Everyone Orchestra’s Brooklyn Sessions.

The Sugarman 3: What the World Needs Now (Daptone)
File Under: Funk

Yes, the title of the album is derived from the Bacharach tune and as great as Bacharach was/is, it’s always great to hear new arrangements of well-written tunes. Brass never hurts either.

Even the great “But It’s Alright” by JJ Jackson gets a makeover with the vocal lines being taken over by organist Adam Scone. That great driving rhythm is still there, thankfully, as it’s a 1960s soul highlight.

Paste has a full stream of the album already if you want to dig in further.

The Bombay Royale: You Me Bullets Love (HopeStreet)
File Under: Cinema, Funk

From the press release: “Their debut album You Me Bullets Love is a blend of haunting Hindi and Bengali vocals, pulsing deep funk and disco breaks and shimmering surf-a-delica.” Very fitting for the title tune.

Very energetic album.

Album: Jack White: Blunderbuss (Third Man/Columbia, 2012)

Over the past 13 years, Jack White has been so busy being involved with various bands and producing for even more artists that he hasn’t had time to make a musical statement solely under his own name. Sure, he’s had tunes credited completely to him such as those on the T. Bone Burnett-produced Cold Mountain soundtrack (worth seeking out, by the way) and features on the documentary It Might Get Loud. He even dueted with Alicia Keys for a Bond theme.

It would be hyperbolic to say something to the effect of, “We finally get to hear the REAL Jack White.” Everything he’s worked on has had his unique signature on it. However, it’s also been within the framework of the bands he’s been in or period music (Cold Mountain). Altogether, though, we’ve learned that he’s a fantastic guitarist, loves country music, and can dish out some fantastic covers. Late last year, we got the chance to hear him take on U2′s “Love Is Blindess” for Q, a UK magazine, which devoted an issue and its accompanying CD to the 20th anniversary of Achtung Baby. He took a song rife with dark emotion and then added more angst and angry guitar and completely owned it. If you missed it then, you can still catch it on the b-side of the “Sixteen Saltines” 45.

But does that mean that’s what his solo album should sound like? Left to some, it might… and that wouldn’t be a bad thing. It might even have more songs that sound like “Sixteen Saltines” with single bar guitar riffs catchy enough to be used for MTV station identifications that would play in between music videos. Rock music lovers would relish, and life would surely move along just fine. However, we’d also miss out on his artistry and other gifts. Yes, he can crank out a brash riff, but he’s proven to be much more than that.

That’s why Blunderbuss is so damn good, and why we should embrace Jack White’s insistence on being more than garage rock and blues god. There are still plenty of guitar solos to be found (see “Missing Pieces,” “Freedom At 21,” “Weep Themselves To Sleep,” and “I’m Shakin’,”), but balanced around that is some brilliant work on the keys, which to the chagrin of some has a heavy presence on the record. But listen to “Tongue Trash Talker” and tell me you wouldn’t have one of the better nights of your life hearing it played at a piano bar (especially when he cuts loose on a rocking piano solo around 2:15 that would make early rock and roll pioneers proud). That streak continues on a fun cover of Little Willie John’s “I’m Shakin’” with the colloquial “noi-vous” left intact.

In other reviews, terms like “vaudevillian” have come up, and there’s an element of that to be sure (“Hip (Eponymous) Poor Boy” has that vibe), but a single term like that does a disservice to the rest of the record. It’s varied: “Freedom At 21″ almost has a club hip hop feel to it with its reckless “hey” chant but still maintains a predominant rock tone; the title track has a waltz melody underpinning it; and “Love Interruption” loses drums for the better.

To everyone who thinks it’s mandatory that for an album be an unabashed rock record it needs a guitar that is loud and overbearing, that Blunderbuss sufficiently lacks that particular instrument up front on every song is a tribute to the nature of “being rock and roll.” That mind state has never been about an instrument but an expression of confidence and attitude. Jack White’s solo debut is pure rock and roll, even if we don’t all agree that it’s what it should sound like.

We missed several releases last week which we’ll catch up on at the end of this week’s Release Tuesday post, but we

SPOTLIGHT RELEASE

Keane: Strangeland (Cherrytree/Interscope)
File Under: Pop

With their fourth full length album in the last eight years (to complement a couple of EP releases in between), Keane continues their melodic pop rock adventures with Strangeland. Various incarnations of the album are being released: standard, deluxe (with 4 bonus tracks), and super deluxe (also with the bonus tracks, a screenprint, hardback book, and a DVD of acoustic videos).

The material presented is hardly challenging. Yet what it lacks in pioneering new territory, it completely succeeds with melodic statements. Their hit “Somewhere Only We Know” in 2005 captured a flawless mid-tempo pop performance that has afforded them rotation on radio playlists, commercials, and various movie advertisements (last year’s Winnie The Pooh trailer heavily used it), and well over half of their new album is single-ready including the opening six tracks.

Joining the fold officially on Strangeland is bassist Jesse Quin, expanding the trio to a quartet. Vocalist Tom Chaplin has always possessed a powerful voice, and that remains fully intact on the album’s lead single, “Silenced By The Night.” Tim Rice-Oxley’s has some beautiful piano work especially on “Sea Fog,” the album’s closer, and Richard Hughes provides a powerful drumming performance on “On The Road,” the most uptempo tune on the set.

Within the last couple of weeks, a new single – “Disconnected” – has been serviced for play.

Their debut album centered around hopes and fears, and Strangeland has a strong emotional connection to the former emotion. As Chaplin sings on “Silenced By The Night, “Oh you and I, we’re gonna rise again.” Lyrically and musically, the album is their strongest collection of music yet from beginning to end.

Glenn Frey: After Hours (Universal)
File Under: Pop, Standards

Snickers generally abound when a former rock star heads down the standards road. Members of various music forums poo pooed Glenn Frey, former co-lead singer of the beloved Eagles, for putting together a collection of tunes celebrating the Great American Songbook and beyond. For as well as Rod Stewart’s celebration of the same material has sold, it’s also created a backlash against both him as well the standards genre in general. But Paul McCartney also dabbled in it recently to critical acclaim, not that McCartney’s success steered Frey to join the fold.

Although not every tune is a polished gem (Bacharach/David’s “The Look Of Love” falls fairly flat), Frey’s version of “(I Love You) For Sentimental Reasons” is fairly affecting and “Route 66″ is jumpy.

It may not be a Best In Genre winner, but the album also isn’t as bad as some might lead you to believe. The musicianship is top notch and the listening is perfect for late night listening sessions to wind down. There is music for every mood, and After Hours has its merits and place.

Various Artists: Long Live Boogaloo (Secret Stash)
File Under: Global Grooves, Boogaloo

While we missed the vinyl release of this album on April 24 (shame on us!), Secret Stash is also releasing the compilation on CD. While that normally may not be impressive, when taken in context with the rest of the label’s output, it’s only the second CD release in their history (the excellent Peruvian folk compilation Pena being the other). Focusing on the fantastic Latin scene from the ’60s, the peppy compilation benefits from two things:

1. Secret Stash’s impeccable taste in music
2. A co-sign from Bobby Marin, who himself knows a few things about the genre given his extensive production work to Boogaloo throughout the years

Amazon doesn’t list the CD as being released until next week, but the promo video below notes it as having a May 8 date. Press requests have yet to be answered from Secret Stash as to whether the date changed. However, given that we missed the vinyl release date on this one, if we’re early on posting the CD date, doesn’t that somehow even it out?

IN CASE YOU MISSED IT (AND WE DID, TOO)

All Good Funk Alliance: Jack Of All Trades (Fort Knox Recordings)
File Under: Funk, Electronic

A fun mix of dancefloor tunes from a slight bit of disco and funk all with a bit of an electronic twist. Having recruited various artists to participate on their record including Latin stars Empresarios and Mustafa Akbar (last heard on The Funk Ark’s most recent album released in the last 4-6 weeks), perhaps none illustrate how fun this album is like the hilarious title of “I Don’t Care If It’s Your Birthday.”

It’s jams like these that always make me want to make some DJ mix of my own and share it with friends hoping they’ll ask, “What was THAT song?”

All Good Funk Alliance embody the All Good!

Blockhead: Interludes After Midnight (Ninja Tune)
File Under: Hip Hop, Instrumental

Nearly every song on this album is close to the five minute mark meaning that the grooves last a bit longer and the ideas aren’t compacted to conform to radio’s preferred length of getting in and out within three-and-a-half minutes. Interludes After Hours never fully approaches boom bap hip hop, but it does build a dozen great instrumental pieces that blend hip hop aesthetics (listen to the break on “Smoke Signals”) with a movie score musicality.

Ane Brun: It All Starts With One (Play It Again Sam)
File Under: Pop

An unconventional pop record that skirts lavish production with more minimal production. By doing so, we get to focus on Brun’s angelic voice – perhaps best heard on “Lifeline.” While the material isn’t always happy, listening to her sing is a true treat. Fans of Tori Amos may really want to jump on this bandwagon.

Four more titles that Record Racks recommends this week.

SPOTLIGHT RELEASE

Norah Jones: Little Broken Hearts (Blue Note)
File Under: Pop

Forget there was ever a chanteuse who sang “Don’t Know Why” when listening to Norah Jones’ latest album. The sound of Little Broken Hearts takes you to dark places in the land of lost love. Give thanks in part to Danger Mouse who proves once again that he is one of the top producers in music.

As catchy as “Happy Pills” is, there’s one particular track to pay attention to on this album: “Miriam.”

Here the album in full over at NPR’s First Listen or here:

Completists may want to stop by Target as they get three exclusive tracks (not four as mistakenly listed in the Target circular today) per a recent Billboard article:

13. I Don’t Wanna Hear Another Sound (click the Billboard link above to hear this song)
14. Killing Time
15. Out On The Road (Mondo Version)

Santigold: Master Of My Make Believe (Atlantic)
File Under: Pop

Nearly four years to the day of the release of her debut album, Santi White returns with a new spelling of her stage name by trading an “O” for an “I” (no longer Santogold).

Hear it over at NPR’s First Listen page. The promo video for “Disparate Youth” is embedded below.

The Ad Libs: The Complete Blue Cat Recordings (Real Gone)
File Under: Soul, Doo Wop

They sang that catchy tune “The Boy From New York City” in 1965, and on this collection from Real Gone, we get to hear a fantastic a cappella demo of the same tune as well as two alternate versions.

Music nerds like myself will also enjoy several in-studio chatter sessions as the group makes various attempts at their craft while the producer chimes in with ideas.

In addition, their only other charting pop hit, “He Ain’t No Angel,” which barely registered on the charts peaking at #100 for a single week, is included. Fittingly, that tune’s debut date on the chart was May 1, 1965… 47 years to the day that this retrospective is released.

George Harrison: Living In The Material World (Universal)
File Under: Rock

A few months after this collection saw a UK release, it’s finally making its way across the pond. Scorsese’s look into George Harrison received rave reviews. If you haven’t yet picked up the book yet, it looks absolutely beautiful. As companion pieces, the Scorsese documentary is available in DVD and Blu-Ray and a 10-track CD collects previously unreleased music>. Want it all? Universal has packaged it all together for your convenience.

While we music fans are all collecting our breath (and scrounging for our remaining pennies) after another spring Record Store Day, another Tuesday comes along. Normally we might gripe about only having four releases to highlight for Release Tuesday (sorry, but a digital reissue of The Very Best Of Johnny Hates Jazz is not one of them), but these four are all super solid. Making it even better is that these represent different genres. Don’t like a lot of variety in your music? No problem – pick the one that best suits your tastes and jam on! Like a lot of variety? Fantastic… pick up all of them!

SPOTLIGHT RELEASE

Jack White: Blunderbuss (Third Man, Sony/Columbia)
File Under: Rock

As highlighted on the Record Racks Facebook page last week, iTunes was streaming the entire album (a first to my knowledge of that practice for iTunes but by no means is that definitive) for a limited time. Some who found the link heeded the call, and reviews on various message boards have been mixed. Some didn’t think it rocked enough (which I interpreted as not having enough guitar based on their comments), and others loved the sound. Put Record Racks in the latter camp.

Given White’s diverse tastes in the various groups he’s been a part of (The Dead Weather, Raconteurs, The White Stripes, the Rome project) and those for whom he has opted to produce (Loretta Lynn, Wanda Jackson) as well as his love for all kinds of sounds (seriously, check out his work on the T Bone Burnett-produced soundtrack Cold Mountain), is it any surprise that he put together an eclectic bunch of songs that aren’t defined (completely) by leaning hard rock riffs?

As if being nominated as the release of the week doesn’t spell it out, we highly advise you to get this album.

Various Artists: Mercyland: Hymns For The Rest Of Us (Tone Tree Music)
File Under: Gospel, Folk, Alt-Country

Phil Madeira has been around the music scene for a number of years, but he always had a vision of doing a project. After receiving funding from some online donations to go along with his own money, he put together a project with some like-minded friends and colleagues for the celebration of gospel along with primarily folk, country, and alt-country leanings.

While more well-known names may catch your attention from the back sleeve (The Civil Wars, Dan Tyminski, Emmylou Harris), the real star of Mercyland: Hymns For The Rest Of Us is Phil Madeira. His ever-present hand, being either a writer and/or instrumentalist in all but one song, showcases why he has been such a revered talent in the Nashville community and beyond. Mercyland is a joyous approach to mostly Americana- and country gospel-flavored tunes that proves that great hymns don’t just appear in the songbook behind the pews. Some new ones, including “From This Valley,” appear right on this disc. Besides, gospel music isn’t about how old a tune is – just that it honors our Maker. Madeira understands and executes that perfectly.

Given the Grammy darlings involved in some of the tracks, hopefully The Recording Academy gives this one some serious consideration. It’s deserving. Here it in its entirey over at Folk Alley.

Various Artists: The Best Of Perception And Today Records (2-CD) (BBE)
File Under: Soul

Subtitled as “Funk/Soul/Breaks/Jazz/Latin & Rock from one of NYC’s Finest Underground Labels” as “Compiled by DJ Spinna & BBE Soundsystem,” it’s certainly a mouthful. Like the Mercyland compilation above, you may not know many of the names above at first sight. Forget that. It’s a double disc compilation of soul music that should be evaluated on its contents, not its names. With that, it’s one of the best compilations from start to finish, especially across two discs worth of material, we’ve heard of soul music in the last couple of years – and trust us, we’ve heard plenty from that genre. Digital purchasers get an extra 8 tracks from the likes of Dizzy Gillespie and Lucky Peterson. The latter artist can be heard early on in “Good Old Candy” in the exemplary mix below by Chris Read.

Various Artists: Personal Space: Electronic Soul 1974-1984 (Chocolate Industries)
File Under: Soul

In the last 6 weeks, we presented Now Again’s Soul Cal and Stones Throw’s release/distribution of Minimal Wave, Vol. 2. This compilation falls somewhere in between. They share one common artist/group, Key & Cleary, but this one is really a moodpiece. “Disco From A Space Show” by Guitar Red is perfectly titled and “Time To Go Home” by Otis G. Johnson is equally as distant. Still, there is great music wrapped in its weirdness. Its eccentricities can be attributed to the experimentation within the synth sounds during the mid- to late-70s.

Chocolate Industries is releasing Personal Space, and if you aren’t familiar with them, perhaps you are familiar with Numero whose Rob Sevier researched the set and Numero affiliate Dante Carfagna who compiled the collection per Pitchfork.

The Makers: Don’t Challenge Me

Christmas in April. It’s time for every music lover’s favorite springtime holiday. Hundreds of titles are being released on 7″, 10″, box sets, CDs, deluxe packaging… you name it. Below, we’ll highlight some titles we’d recommend.

Be sure to view the full US Record Store Day list and international lists.

Various Artists: Never To Be Forgotten: The Flip Side Of Stax 1968-1974 (Light In The Attic)
Format: Box Set, 7″, Book
File Under: Soul

Last Black Friday saw Light In The Attic present a 7″ box set with a book on Seattle’s soul scene. This RSD, they are doing the same thing with Stax including tracks by Mable John, Bernie Hayes, John Gary Williams, Roy Lee Johnson, Melvin Van Peebles, and The Emotions to name a few. Mable John’s “Running Out” is stone cold as is the Lee Sain 45.

The book has featurettes on each of the artists along and quotes from writers and others who know their soul including James Porter, Oliver Wang, Red Kelly, Neal Sugarman, Patrick Montier, and Scott Bomar.

For those not looking forward to recording the vinyl, the set comes with a download card for the music

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Various Artists: WTNG 89.9 FM: Solid Bronze (Numero)
Format: CD, LP
File Under: Pop

The Numero Group has once again kicked up a release of stuff we never thought we needed yet still feel compelled to buy. Need proof? Pick one of these songs that you just have to have based on knowing it. Yeah, that’s what we thought.

Timothy – Your Love Rolled Over Me
Leder Brothers – I’d Like To Touch A Star
Cream & Sugar – Between Us
J. Michael Henderson – Nite People
Archie James Cavanaugh – Take It Easy
Caroline Peyton – Try To Be True
Roach Band – Aladdin
Greenflow – I Got’Cha
Dwain Vigil – Heaven’s Child
Donna Kime – Golden Pony
Lorren Cornelius – Fantasy Woman

Still, it’s one of the top few releases on our list.

Gary Clark, Jr.: Presents HWUL Raw Cuts, Vol. 1 (Warner)
Format: LP
File Under: Rock, Blues

Gary Clark, Jr., has been a big name on the guitar scene for a few years. Eric Clapton has gotten behin him through invitations to his Crossroads Festival. Aside from an EP that already came out that foreshadows his upcoming album, Warner presents this two track record featuring a scant two songs, both of which are live:

1. Third Stone From The Sun/If You Love Me Like You Say
2. Bright Lights

Fun: The Ghost That You Are To Me (Atlantic)
Format: 10″
File Under: Pop

Yes, they are everywhere (deservedly so) for “We Are Young.” Such an anthemic song and worthy of all the attention it is getting in the pop world. So given that we already love the record with its large sound, how will we love it when it’s acoustic? All three selections on this LP are acoustic, in fact.

1. We Are Young (featuring Janelle Monae)
2. Carry On
3. Why Am I The One

James Brown: There It Is/Pass The Peas (UMe)
Format: 7″
File Under: Soul, Funk

2012 marks the 50th anniversary of the legendary Live At The Apollo from James Brown. Don’t think for one second that Universal is going to let a milestone date pass by. Presented on this 45 are two tunes from that night.

1. There It Is
2. Pass The Peas (insanely funky)

Paul McCartney: Another Day/Oh Woman Oh Why (MPL/Hear Music)
Format: 7″
File Under: Pop

In about a month, we’ll be getting a reissue of Macca’s Ram album. While neither of these songs were included on the album, they were recorded during the sessions. Even though he’d had a full length solo album after the Beatles’ breakup, this single represented his first as a solo artist. Both tracks will be included in the upcoming special edition and box set versions of the Ram reissue.

1. Another Day
2. Oh Woman, Oh Why

The Civil Wars: Live At Amoeba (Sensibility Music)
Format: CD
File Under: Pop

Both John Paul and Joy LOVE record stores per a comment they made to me during an interview last year. So for them, it’s important to participate in a day that’s dedicated to indie shops. One of the largest indie shops in the USA, Amoeba, hosted them for a show not too long ago and recorded the output. Included on the set are live versions of the two songs from last year’s Civil Wars 7″ (“Billie Jean” and “Dance Me To The End Of Love”) as well as a Smashing Pumpkins cover (“Disarm”) and the excellent “From This Valley” (the studio version will be on a compilation arriving next Tuesday – stay tuned for more info!).

Also, if you’re lucky enough to find one in the USA, they have a 7″ releasing as well featuring a cover of Portishead’s “Sour Times” (A-side is “Billie Jean”).

The Black Keys: El Camino (Nonesuch)
Format: 7″ 45s
File Under: Rock

Last year the band released Brothers on a limited edition repress on 45s. This year they are doing the same with their latest album which has songs that have been getting coverage on a ton of commercials (especially the NCAA men’s basketball tournament). Also included is a bonus 45 including live versions of “Sister” and “Money Maker” that have previously been unreleased, although the studio counterparts are on the regular album.

Jerry Lee Lewis: Live At Third Man (Third Man)
Format: CD, LP
File Under: Rock & Roll

“Yeah, this is the Killer speaking,” he once spoke on the intro to his version of “Chantilly Lace.” While we’re not entirely sure if this is a true RSD-only release (it’s not listed on their site but then again neither is the Numero Solid Bronze release), this has RSD roots as its contents were performed on RSD 2011 at Third Man in Nashville. It wouldn’t be a Jerry Lee show without “Great Balls Of Fire” and “Whole Lotta Shakin’ Goin’ On,” but he throws in some deeper cuts like “Mexicali Rose” and “Down The Line” just for good measure. If Jerry Lee isn’t enough to make you put it in your pile for the day, does it help that legendary guitarist Steve Cropper performs in JLL’s band on this? Mmmmm hmmm, makes it even sweeter!

A good smattering of stuff this week which is good for labels and record stores. Shops can get some good releases in time for Record Store Day, which is this Saturday (!), for shoppers to browse through while they are in looking for this year’s special releases.

Regarding Record Store Day, we’ll be posting a bit later this week in highlighting a few titles. If you still haven’t seen the list, you can browse it at the official site. If it’s an app you desire, Record Store Day has one of those, too. Just browse the App Store for keyword “Record Store Day” (easy enough, right?), and boom goes the dynamite as they say.

SPOTLIGHT RELEASE

Little Richard: Here’s Little Richard (Specialty, Concord Music Group)
File Under: Rock & Roll, Soul

Little Richard made several stops throughout his career (his Okeh sessions are exciting as well as his short stint at Brunswick). However, none were as riveting and earth shaking as the time he spent with Specialty, particulary in 1955 and 1956, for his debut album. For such a nonsensical phrase, “a-wop-bop-a-loo-bop-a-lop-bop-bop” sure hits you right in your soul. It’s Little Richard’s conviction and delivery that is so piercing, commanding attention.

The tunes collected for this reissue aren’t rare and have been reissued before. Even the two demos for “Baby” and “All Night Long” have seen the light of day on the Specialty box set in 1990 (coincidentally released in April of that year as well). However, there are a couple of reasons to purchase it.

1. A previously unaired interview with Art Rupe conducted in 1997 for a radio documentary is utilized and is recommended for music fans to get to hear from the man who ran the label. He explains why he decided to sign Little Richard. Surprisingly, the demos that had been sent along didn’t send Rupe and A&R man Bumps Blackwell didn’t jump out to them. Soon, though, they changed their mind.

2. Screen tests (in full color, no less) of “Tutti Frutti” and “Long Tall Sally,” both of which were shot for the purposes of seeing how Little Richard would look on the film “The Girl Can’t Help It,” which he did end up appearing in. Even though he’s not playing the piano with his usual zeal, it is completely entertaining to watch him dance during the instrumental break.

3. A 14″x14″ poster (yes, they still make those) of the album cover to display in your man/woman cave walls is included.

Fun fact: The man you hear playing piano on “Tutti Frutti” is NOT Little Richard. Instead, it’s Huey “Piano” Smith of “Rockin’ Pneumonia And The Boogie Woogie Flu” fame. The link is that the tune was recorded at Cosimo Matassa’s studio in New Orleans where Smith frequently set up shop.

Donovan: The Essential (2-CD) (Sony/Legacy)
File Under: Rock & Roll

Now you may say to yourself, “Wait, I already HAVE a compilation called The Essential Donovan in my collection.” That could very well be true, and all of the tracks on that release are on this double disc. However, this version of the title expands from 14 tracks to 36 tracks. Yes, you could view it as a cash-in on Donovan’s induction into the Rock & Roll Hall Of Fame this past weekend, but it’s also an excellent way to celebrate the man’s contributions to popular music. (However, I’m still confused by the “Get Mellow With Donovan’s Mellow Yellow Yoga Mat” advertising insert packaged inside the release.)

A live version of “Sunny Goodge Street” adorns the set, recorded in late 1967 at the Anaheim Convention Center that has previously been unissued in the USA (on CD). Also recorded the same night is an exquisite version of “Sand And Foam” presented on the second disc. And what would a Donovan release be without “Mellow Yellow” and “Atlantis” (a fave of Record Racks) – even if the rumors of Paul McCartney’s performing background vocals was shot down by Donovan in a magazine interview. The tune does have a Beatles-esque feel to it with its extended repeated lyrics (think “Hey Jude”).

Beware, though, that this collection only covers material through 1973, for which Sony owns licensing. If you desire material beyond that period, be sure to check out the rest of his catalog as he recorded past that time.

Janis Joplin: The Pearl Sesions (2-CD) (Sony/Legacy)
File Under: Rock & Roll

Following up their release of the Live At The Carousel Ballroom 1968 from last month, Sony/Legacy is presenting The Pearl Sessions in a 1-2 punch manner. Joplin’s swan song was released in 1970 and found her working with some great writing talent: Jerry Ragovoy, Kris Kristofferson, Bobby Womack, and Penn & Oldham. Three songs on the album made Billboard’s Pop 100 chart with “Me & Bobby McGee” being the crown achievement spending 2 weeks at #1. “Get It While You Can” peaked at #78 while “Cry Baby” topped out at #42 (sorry, Pearl, “Garnet Mimms’ version tops yours).

Bonus material on the album includes mono singles (6 in all), studio chatter, alternate takes, and some live material to boot.

Every song on the album was recorded in September of 1970 with the exception of “Mercedes Benz,” sung completely a cappella with the help of some tapping in the background, which was recorded on October 1. Sadly, she passed away three days later from an overdose. Somehow the band was able to reconvene a few days later to record an instrumental version venting their pain in a jam simply entitled “Pearl,” which is presented on the second disc.

Various Artists: Sun Record Company 60th Anniversary (2-CD) (Curb)
File Under: Rock & Roll, Country

If you haven’t heard some Sun Records music in your life, then you just haven’t been living. Curb Records is here to help you if that’s the case by collecting music cut at the studios by B.B. King, the often forgotten “Rocket 88″ by Jackie Brenston & His Delta Cats, a couple of Elvis demos, Carol Perkins, Johnny Cash, and Jerry Lee Lewis – some great American tunes across multiple genres.

Ebo Taylor: Appia Kwa Bridge (Strut)
File Under: Global Grooves

It’s not all catalog music to present this week. Septuagenarian Ebo Taylor isn’t slowing down just because his age is going up. The Ghanian-born musician from Love And Death returns with great energy alongside the Afrobeat Academy on “Ayesama” and closes out with a stripped version of “Barrima,” which the press release notes is a song dedicated to Taylor’s late wife who passed away last year.

Note: Daptone fans… if you remember the Pax Nicholas release, note that he appears on this album on congas throughout.