Brooklyn correspondent Justin Colletti listens to new releases every day of the week except Sunday. Here, he shares the twelve Spring releases that best broke through the noise and captured his imagination.
1. Booker T. Jones – The Road From Memphis
From 1962 to 1970, Booker T. served as one of the essential sidemen who helped shape the sound of classic soul and R&B. As part of Stax’s integrated house band he played back-up for Otis Redding, Wilson Picket, and Sam and Dave. As bandleader for the MGs, he brought instrumentals to the top of the charts with the iconic cut “Green Onions.”
Jones’ latest effort, The Road From Memphis is a rootsy hybrid of hip hop, funk, and soul that makes the rock/fusion hybrid of his GRAMMY-winning 2009 release Potato Hole sound gimmicky by comparison.
Even with his name on the cover, Jones maintains the soul of a sideman. His playing is casual, relaxed, almost conversational, as he cooks through a cover of Gnarles’ Barkley’s “Crazy” on the Hammond B3, or supports Sharon Jones on an original tune.
There’s little musical grandstanding on this record, which features an all-star band of ace musicians who stay firmly rooted in-pocket throughout.
The Road From Memphis was produced by ?uestlove of the Roots and Rob Schnapf (Beck, Elliot Smith). It was recorded by Gabe Roth of Daptone (interviewed here over the winter), and features guest performances from Sharon Jones, Lou Reed, Matt Berninger of the National, and Jim James of My Morning Jacket.
2. Dennis Coffey: Controlled Aggression
Here’s a release that reminds us why we should never look to television or glossy magazines for music recommendations. Although you might not think it by the looks of him, Dennis Coffey will melt your face off with the funk.
When he’s not busy swapping fashion tips with George Costanza or posing to reassure you he’d do a great job adjusting your tax returns, Coffey leads a double life as a former guitarist for Motown, and the man behind the steaming new release Controlled Aggression.
Thanks to the good graces of the internet, this unlikely gem of a record doesn’t have to go undiscovered. Click the link below to hear the track “Space Traveller,” selected as NPR’s song of the day on May 31st.
When listening, don’t be afraid to turn up your speakers. Not only does this cut feature an old-school sensibility when it comes to musicianship, it features a refreshing lack of the aggressive over-mastering that’s had musiophiles up in arms for more than a decade. In a welcome blast from the past, the louder you crank this record, the better it sounds.
3. Thurston Moore: Demolished Thoughts
Sonic Youth’s Thurston Moore had a new release last month. This largely acoustic, gracefully orchestrated collection of songs was produced by Beck for Matador Records, and has music geeks across Generations X and Y asking, “Where the hell was this record when I was a teenager?”
In some ways, Demolished Thoughts is Moore’s equivalent to Beck’s Sea Change. Although much of this record is as wizened and reserved as Beck’s navel-gazing opus, the tone of Demolished Thoughts remains notably less melancholy than that easy touchstone.
Arrangements are generally sparse and intimate, with subdued strings that are startlingly pretty and never overwhelming. On the production end, the album’s tone is spacious and milky, unafraid to stay just a little boxy and decidedly natural.
4. Kate Bush: Director’s Cut
If you’re a Kate Bush fan who’s disconcerted by musical revisionism, you may have mixed feelings about Director’s Cut. On this album Bush revisits and revamps songs from The Sensual World and The Red Shoes.
Unlike Brian Wilson’s 2004 revisit of the Smile sessions however, it’s doubtful any of these re-interpretations will be accused of ruining old favorites. Bush’s voice has stayed strong, and some of these cuts improve on the source material, which is largely culled from The Red Shoes, an album generally considered to be one of her weaker efforts.
After years of trying, Bush finally obtained permission to re-appropriate Molly Bloom’s soliloquy from the James Joyce’s novel Ulysses as the lyrics for this album’s opening track. It’s unusual to hear a woman of fifty-three take on some of the overtly sensual themes that drive the opening tracks on this record, but she does so with an effortless, unconcerned grace that belies her age.
So, is it worth listening? For those who are not yet fans, the now-classic 1985 album Hounds of Love is probably still a better place to start. (Like, yesterday.) For the already initiated? It’s definitely something to hear.
5. Eddie Vedder: Ukulele Songs
Pearl Jam singer Eddie Vedder has come out with a solo album. It consists exclusively of him playing songs he wrote for the ukulele.
Diehard fans of Vedder’s voice are likely to connect with the album’s intimate and un-ironic delivery. The rest of us could always use good excuse to gawk slack-jawed at our computers for a few minutes, wondering if our eyes are fooling us, so Vedder’s Ukulele Songs occupies slot 5 on our roundup of interesting spring releases.
But, is it good?
For a solo album that almost exclusively consists of Eddie Vedder playing songs he wrote for the ukulele, sure, it’s absolutely the best one I’ve ever heard.
How about compared to the rest of music throughout recorded history?
Well, it’s less weird than you might expect, and features strong, naked performances from a distinctive singer that you probably really love or can’t stand at all.
As for a rating? No matter which camp you fall in, Ukulele Songs is an odd, but well-realized effort that stands somewhere between the transcendent (Debussy’s “Prelude to the Afternoon of a Faun,” “Kind of Blue,” the first four Black Sabbath albums) and the laughably mediocre (Bruce Willis’ solo record, Lynyrd Skynyrd’s Christmas album, Lady Gaga’s “Born This Way”).
6. Beastie Boys: Hot Sauce Committee Part 2
There’s a good chance you heard about it when the Beastie Boys dropped a new album last month. If you missed it, you still have a chance to stream it below.
It’s all too easy to harbor low expectations for any album this far into the band’s career, but once again, the ‘Boys refuse to disappoint: “Hot Sauce Committee” plays out like the Beasties of Check Your Head meeting up with the Beasties of Hello Nasty to compare notes.
Although some disinterest can be expected from early fans whose tastes have changed over the decades, this record is sure to please the ears of anyone still ready for more high-powered and irreverent jams from America’s favorite bratty-New-York-whiteboys-turned-socially-conscious-hip-hop-all-stars.
7. Alfonso Velez: Alfonso Velez
Alfonso Velez is a stunning and rare find: an undiscovered Singer/Songwriter worth watching out for.
Mere moments into “Teddy,” the first cut on Velez’s self-titled LP, I found myself slack-jawed, remarking aloud: “Wow. Dude can sing.” Songs here feel like real performances, unfolding stories that sound refreshingly human and open up over time.
With a production aesthetic that’s informed by The Flaming Lips and Radiohead as much as it is by The Beatles and James Taylor, Marc Alan Goodman’s mixes on Alfonso Velez balance the organic with the epic, the subdued with the sublime.