Non-Prog Album Reviews

Artist:  Fiona Apple (USA, 1996-active)

Genre:  Jazz-pop/alternative rock

Album:  When the Pawn..  (Epic Records, 1999)

Review:

I have tried to figure out what exactly differentiates Fiona Apple from the crowd.  When I listen to her music, it immediately stands out to me as different but I have struggled to pin it down to something that distinct.  I know she sort of blends jazz pop with alternative rock but that is not necessarily such an unique package.  While much is written about her powerful voice, it is essentially a deep, somewhat nasal, contralto...so therefore not so odd in the context of the music styles she dabbles in. 

And the thought that occurred to me today, as I wait for my copy of her brand new album Idler Wheel, is that the reason may be more fundamental and more to do with the emotions. Anger.  She's not necessarily an iconoclast that way either - after all, female singers have performed rock since the time of Janis Joplin.  But the idea of an angry woman playing the piano rather violently and backing it up with some aggressive singing....I can't readily find precedents for that.  Kate Bush has done that off and on but Fiona's first person confessional approach is almost evocative of Layne Staley rather than any female fronted jazz pop. 

So, the sheer outpouring of anger in a context normally associated with chilled out music for the lounge is what really makes Fiona Apple unique.  It gets her a bit of negative press as well, but then what is an eccentric that doesn't polarize opinions.   Actually, circa 2012, the largely positive reviews for Idler Wheel suggest that professional critics have grown tired enough of shallow, unremarkable pop that they'd much rather have a crazy woman who writes great music than not have a whole lot of music worth reviewing at all. 

Coming back to When the Pawn...., it represents a stunning evolution from her debut Tidal and in many ways, sets the tone for the direction of her work thus far.   The hit single Criminal off Tidal is actually not a bad song at all and is pretty interesting as far as radio ready pop hits go.   But When the Pawn...is where Fiona turns out to be this sophisticated artsy pop songwriter rather than hitmaker par excellence.   In terms of structure,  the songs are all pop but very distinct, well developed instrumentation sets them apart.  Credit is due to producer Jon Brion as well as the top notch sessions musicians for this. 

But Fiona's own compositional talent doesn't hurt as it brings a certain amount of versatility to the table, going from the bluesy A Mistake to the Radiohead-esque Way Things Are to the Broadway-like Get Gone (angry Broadway, if you insist).    She already demonstrates tremendous confidence and charisma as a singer as well, delivering Limp with a rockish gusto and sounding authentically vulnerable on I Know.  She may not have the biggest range in the world or pull the most astonishing melismatic pyrotechnics but she knows how to sing words better than most of her competition and is prepared to sound flawed in a natural way that makes her delivery sound more human.    To quote from her generally smart lyrics, "I've quite got a taste for a well made mistake".  Even though the recording sounds perfect and clinical as can be, there is still an organic quality about the music and this, I feel, is largely due to the way she sings and plays. 

Which brings me back to anger.  A review of Idler Wheel describes it as totally punk rock and I am guessing the reviewer is basically referring to the anger levels of the music rather than anything stylistic.  And that apples to this album as well.   These ten tracks are well made as it is, and there are no weak cuts here, but her remarkably convincing projection of anger takes it to another level.  There is the danger here of the whole thing turning into a tiresome rant of self pity but, as I mentioned earlier, there is always a touch of humour in her lyrics which makes these angry rants that much more palatable.

Rating:   4.5/5.  If you like pop or rock with a touch of jazz, it's hard to go wrong with this. 

Prog appeal:   In terms of structural complexity, not much at all.  She might just be distinct enough to appeal to those progheads who welcome the crossover stuff.  So, "light or historical appeal to prog listeners" it will be. 









Edited by rogerthat - June 23 2012 at 11:55

DNA was an avant-punk band formed in 1978 by Arto Lindsay, Robin Crutchfield and Iuke Mori. DNA was a huge part in New York's No-wave scene. Later in 1978, after releasing thier debut single "You & You/Little Ants" and being featured on the complation "No New York" (which gives the No-wave scene it's name), Robin Crutchfield left and was replaced by Tim Wright, previous Bassist of Pere Ubu. DNA were then featured on several complations and then releaced thier ten minute album "A Taste of DNA", and split up in 1982.

Edited by smartpatrol - May 18 2012 at 10:55

Bruce Springsteen - Born To Run

MADNESS - "7" (1981)



The 3rd album by this incredible British septet (thus, "7"). What began as a scrappy ska band with a pop sense has rapidly turned into an irresistible Brit pop machine. The breakthrough American Hit "Our House" was still a year away, but the band was already a mainstay on the charts at home, even hitting #4 with the uncharacteristically depressing ballad "Grey Day".

The band had instrumental diversity and skill to spare - band leadership was more often just a case of who could bully the best, but all band members had a more or less equal hand in songwriting, usually pairing up into several different partnerships, but always delivering "that nutty sound" as it affectionately was called.

Meet the Madness:

Graham "Suggs" MacPherson (3rd from right)- front man, lead vocalist, semi-pro football player. Wore stylish gloves which I emulated in high school. Cool as a cucumber, jockish but modest, and had a pretty solid solo career too.

Carl "Chas Smash" Smyth (3rd from left) - vocals, trumpet, dance steps, instigator, pugilist, sometime lead vocalist. His role has always been a bit unclear to me, but at least in later days, he became one of the main songwriters.

Lee "Kix" Thompson (far left)- tenor saxophone, vocals. Oozing with 50s biker cool. Whether honking away rhythmically, playing a dazzling solo, or co-writing a lot of their best material, he's the man.

Mike "Monsieur Barso" Barson (middle, standing) - piano, organ. The central figure of the whole group, in my opinion. His aggressive piano playing forms the foundation of most every song. Prone to surprising licks and just the right turn of musical phrase to keep the hooks coming fast and furious.

Chris "Chrissy Boy" Foreman (2nd from right) - guitar. His low-key cool provides texture and color to the ornately-arranged songs. You'll hardly ever hear him play a lead, and when he does, it's almost ridiculously simple; but he lets his skill speak in the little whammy bar accents in between lines and his surf-cum-ska rhythm playing.

Mark "Bedders" Bedford (2nd from left) - bass. Always grinning, really getting into his intricate boppy bass lines. Many songs are great simply by virtue of Mark's cool parts. *PROG RELEVANCE ALERT* His older brother is David Bedford (RIP), who played in Kevin Ayers' band.

Dan "Woody" Woodgate (far right) - drums. Nothing fancy, just play crisply, briskly, and nod. Pretty stoic behind the drums, but he can really kick the band into gear.

But enough of the boys... here's the songs:

SIDE ONE

1. "It Must Be Love" - 2:52 (Labi Siffre) .... (some editions substitute this track with "Cardiac Arrest")... - Cover of a recent pop tune. Reggae treatment of a love ballad.

2. "Shut Up" - 4:07 (McPherson/Foreman) -- Paranoid. A curious song that captures that moment in time when everyone's pointing at you and you say "Me? I din't do nuthin!"

3. "Sign of the Times" - 2:43 (McPherson/Barson) -- Bitter. a bit of Kinksy "social observation". The Brit stiff upper lip that keeps its mouth shut but gossips behind your back.

4. "Missing You" - 2:32 (McPherson/Barson) -- Devious. a dark, rolling number driven by bass clef rumblings on the piano in the verse, and a choppy sax riff in the bridge.

5. "Mrs. Hutchinson" - 2:17 (Barson) -- Dark humor... a doctor telling his patient she'll be fine, then confiding to her son "your mother won't last a week"

6. "Tomorrow's Dream" - 3:54 (Thompson/Barson) -- Pensive, but what a catchy rhythm combo of bass, drums, and guitar. All the other 4 guys had to do was show up.

SIDE TWO

1. "Grey Day" - 3:40 (Barson) -- Desolate. You can almost hear the rain. Another portrait of Brit "quiet desperation", as the Floyd would say.

2. "Pac-A-Mac" - 2:37 (Thompson/Barson) -- Dandy. Named after a foldable raincoat/poncho that fits in a pouch. Just another lovable British fellow in the rain.

3. "Promises Promises" - 2:52 (Thompson/Barson) -- Devious pt 2. Similar to "Missing You", but highlighting Foreman's surf/spy guitar fills.

4. "Benny Bullfrog" - 1:51 (Thompson/Foreman) -- Wacky. Carnival organs bouncing around, jokey vocals, and even some burps to imitate a bullfrog.

5. "When Dawn Arrives" - 2:43 (Thompson/Barson) -- Smooth. A lazy swinging song. I guess it's a "morning after" lament.

6. "The Opium Eaters" - 3:03 (Barson) -- Cerebral. A cinematic piano-based instrumental. Sounds like a tango for a monster movie.

7. "Day on the Town" - 3:24 (McPherson/Foreman) -- Severe. Hard-edged reggae, hard-hitting social critique. An unflattering look at tourists perhaps?


I award this album FOUR STARS out of a possible FIVE.  Very, very good.


Edited by HolyMoly - March 07 2012 at 08:10

i have two albums by earthless both albums have only 2 tracks in it , but IMHO as much as i love earthless i think that radio moscow are better , i adore their 70's style of playing , i have their 3 albums , all are the same style , last one is magnificent!!

radio moscow - the great escape of leslie magnafuzz . 

OK ...GET READY FOR THIS!!

if you like crazy , fiery guitar playing , like jimi hendrix , T2 , tony mcphee (groundhogs) , tony iommi , tony bourge (budgie) , ( a lot of tonys here...) , take a seat and open your ears , your gonna be struck by lightning.

The band's name is 'radio moscow' this is a one man band actually called parker griggs he is a multi-instrumentalist , the band has a drummer and a bassist for live concerts and some recording.
the band's style is psychedelic hard rock , blues stoner rock heavily influenced by all guitarists above , with groovy hard rock riffing , and fiery soloing.
the sound is the closest i heard to 70's hard rock with vintage instruments and recording style.
this guy really loves everything about the 70's style and he is giving us a great tribute...

thank me later..

http://www.youtube.com/watch?v=IaBxCJP58aU

http://www.youtube.com/watch_popup?v=KbKe-CJcty0&vq=medium#t=70

http://www.youtube.com/watch_popup?v=pFhoEA6w5MQ&vq=medium#t=17

Let's review another REM-esque band! Wee!  I promise next time I'll do a band that isn't jangly alt rock, I was just listening to this album and decided to review it because no one's heard of it.

one more

^^^ One of my favs from 2011. Their EP, "Come Reap" and the full length album, "The Time Of No Time Evermore" are equally excellent.