BuzzCuts: New Music
In this week's reviews: A punk and rockabilly set is a touch too raw; Milsap trades saccharine ballads for soul; musicians of various genres and styles interpret Kristofferson, and Shawnna is at her best when taking charge.
Various Artists
Various Artists, "Rockin' Bones"
Ronnie Milsap, "My Life"
Various Artists, "The Pilgrim: A Celebration of Kris Kristofferson"
Shawna, "Block Music"
Brand New Heavies, "Get Used To It"
"Rockin' Bones" (Rhino)
Raw. That's a good word to describe the new four-disc box set "Rockin' Bones" which celebrates 1950s rockabilly music and some tunes that could been seen as a precursor to punk.
In the good sense, the raw sounds — minimalist twangy guitar, simple arrangements and amateur night-quality vocals — offer rough simplicity and an honest amount of energy. Keeping in mind that this music came along during the apple pie and crew cut 1950s, this was fairly experimental stuff.
Even Elvis gets randy on "Baby, Let's Play House," one of the standout tracks. "Now listen to me baby, try to understand/ I'd rather see dead little girl than to be with another man," the King sings. If he didn't sound so good saying it, it would downright frightening.
Sadly, most of the songs are lacking in structure and talent. Joe Clay has some nice guitar work behind him on "Duck Tail," a song about little more than hair, I'm fairly certain. "Don't' mess with my duck tails," he demands, over and over again, without further topic for discussion.
Johnny Carroll sounds out of breath from the moment the first guitar chord is strummed on "Wild Wild Women." He likes the young ladies. Yawn. Shock me, slick. Like most of the short songs on the CDs, Carroll lacks any real emotion, relying rather on punchy pace and occasional yelps for mood. There simply is no story to the song, no message.
Rockabilly is worth reflecting on, but it certainly doesn't stick to the ribs as meaningful music. (Ron Harris)
Back to topForget the Ronnie Milsap who sang string-drenched ballads and dramatically soaring pop-country hits as one of the biggest country stars of the 1970s. That guy has been long gone.
Instead, the Milsap of more recent vintage is a sweet, finger-snapping Southern soul singer who balances breezy, feel-good tunes with moodier, introspective lyrics that allow him to show off his emotion-rich voice. He now has more in common with "American Idol" champ Taylor Hicks than with the Milsap who wore brightly colored, rhinestone-studded tuxedos 30 years ago.
Working with Alan Jackson's producer Keith Steagall, Milsap sounds convincingly contemporary on upbeat fare like "It's All Coming Back to Me Now" and the gospel-testifying "Accept My Love." He's even better when reflecting on getting the best from each day on "My Life" or expressing pain and disappointment on the beautiful "If It's Gonna Rain."
Not everything works: The first single, "Local Girls," is too silly for a man of Milsap's age and talent. But overall, "My Life" is a refreshing return to the scene by a 63-year-old veteran who sounds spryer and snappier than singers half his age. (Michael McCall)
Various Artists
"The Pilgrim: A Celebration of Kris Kristofferson" (American Roots Publishing)
Kris Kristofferson has enjoyed a celebratory run of late, from his induction to the Country Music Hall of Fame to performing at the Kennedy Center to releasing his best album in decades, "This Old Road." He's also acted in seven new films in 2006 and 2005, including "The Jacket," "Dreamer" and "Fast Food Nation."
Not bad for a guy who turned 70 on June 22.
"The Pilgrim" marks his landmark birthday with a tribute album that features newly recorded versions of Kristofferson's songs by contributors who span genres, ages and culture divides. Several of the singer-songwriter's longtime colleagues participate, including Willie Nelson, Jessi Colter and Emmylou Harris. Also joining in are two of his best friends' children, Rosanne Cash and Shooter Jennings.
From there, styles fan out widely: There's R&B singer Brian McKnight; country star Gretchen Wilson; singing actor Russell Crowe; Columbian folk singer Marta Gomez; Americana power couple Bruce Robison and Kelly Willis; and art-rockers Lloyd Cole and Jill Sobule.
The artistic breadth is fitting; after all, Kristofferson's provided hits to such disparate stylists as Janis Joplin, Johnny Cash, Al Green and Bob Dylan. But more than its diversity, what makes the album work is the distinctive personal voice each artist gives to these earthy, poetic tunes. (Michael McCall)
Shawnna
"Block Music" (Disturbing Tha Peace/Def Jam)
Shawnna opens "Damn," a horn-accented club banger on her sophomore solo album "Block Music," by mentioning at least two of her obsessions: designer footwear and her Windy City hometown. "Now you can tell my stilettos cost about $900/ I'm in Miami, acting ghetto, talking about Chi run it," she boasts. Like many of rap's female MCs, Shawnna's in touch with her pleasure principle.
However, that admission is tame compared to the sexual activity she lovingly describes on the disc's salacious first single, "Gettin' Some." The song, built around a Too Short sample, is a prime example of her unapologetic attitude, a characteristic that she embraces as the lone female member of Ludacris' Disturbing tha Peace camp.
The title track features buzzing synths and a squelchy, video-game like sound effect as Shawnna sneers: "Got your jaws dropping/ The AK get to chop-choppin'/ The whole block stop but I'm still knockin'." And sharing mic time with 8Ball & MJG on the raucous anthem "Candy Coated," she knows her "heavy loaded, pink Impala" can compete with the big boys.
But when Shawnna gets personal, the disc takes an earnest turn for the worse. On "Can't Break Me" with songstress Shareefa, Shawnna reflects on the resilience she exhibited during early family and professional struggles. Only the addition of her father, blues legend Buddy Guy — who adds supple, evocative guitar licks — saves the otherwise limp track.
The attempt to paint her as more than a vapid, naughty girl is admirable. But given the contagious, skittering beats and sultry propositions on "Lil Daddy What's Good," Shawnna sounds best coming on strong. (Brett Johnson)
The Brand New Heavies
"Get Used To It"(Delicious Vinyl)
As figureheads of the early '90s acid jazz movement, The Brand New Heavies' signature fusion of sunny disco and sultry funk runs the risk of sounding painfully dated in today's crunk and pop-punk music scene. However, "Get Used To It" — the Heavies' latest release — is a satisfying record that balances their classic sound with noticeable growth and innovation.
Reunited with spunky frontwoman N'Dea Davenport, the retro vibe is smeared on thick. Replete with velvety horns and buttery violins, Davenport channels a gutsy Tina Turner on the rich "Don't Know Why." Yet great things happen when the Heavies dip their jazzy toe in more modern waters. "I Just Realized" tones down the disco in favor of more subtle and sophisticated soul. The sensual "Music," with its juicy bassline, avoids the redundant jam-band feel the Heavies sometimes fall victim to.
Other times the retro groove is mined too deep. Stale horns and monotonous rhythms meander aimlessly on "Right On," while the uninspired "We've Got" doles out sanitized funk. The largely trite and sugary lyrics lend nothing to the Heavies' cause either.
"Get Used To It" is less fun than their previous offerings, and Davenport's once searing vocals are relatively flat. But the album is a solid, creative effort that will comfort old fans and enchant new ones. (Mawuse Ziegbe)
Previous BuzzCuts: Reviews of Keane, Frank Black, Futureheads, Sam Bush and Regina Carter.