Showing posts with label Soul. Show all posts
Showing posts with label Soul. Show all posts
Ila Vann
Mel Flannery Trucking Co. - As It Turns Out
Halogen RecordsMelanie Flannery fronts a New York-based jazz ensemble called the Mel Flannery Trucking Co. Backed by bassist Matt Aronoff, drummer Danny Sher, and keyboardist and songwriting collaborator Lee Pardini, Flannery cultivated a sound that bridges pop, cabaret, jazz, and soul. Their latest offering, As It Turns Out, remains consistent with previous releases.
It also has little to recommend itself. While not unpleasant, the album did not capture my imagination. The arrangements are nice, if a bit too staid and preoccupied with conveying boho sophistication. Flannery and Pardini's lyrics tend to reflect on failed romance without tapping into new insights from such a well-documented subject in popular songwriting. Likewise, Flannery's alto is nice, but lacks singularity in tone or phrasing to set her apart from other jazz-inflected musicians who might grace Starbucks compilations.
Regrettably, I heard little variance between songs in As It Turns Out. I had difficulty telling the difference between "Something About You," "Lift Me Up, Tie Me Down," "We're Still Here," and "I Won't Say Goodbye." I do like Pardini and Sher's flourishes on "I Need You Here With Me," and "You Know What To Do." The latter also serves as one of the album's most appealing track, with Flannery cutting loose. I also appreciate the goofy lyrics in bonus track "You Are the Only One For Me." Flannery's biggest moment is "Gone," the album's proper closer, which boasts a lovely vocal performance brimming with emotion.
At times, the group's clean, slightly funky sound provides a jarring contrast with a song's content. This is most evident in "Running," a groovy slow jam about domestic violence. I appreciate Flannery and Pardini's efforts to represent a very real social problem from a survivor's perspective. This extends toward the album's liner notes, which provide information on the Human Rights Campaign and the National Domestic Violence Hotline. I don't think the song needs a foreboding sound to reflect the content. I just feel strange about the song having such a swing to it.
The group's talent is evident. I just wish I had more of a personal stake in the results.
Review by Alyx Vesey
Patty Griffin - Downtown Church
EMIIt's nothing new for an artist to try different genres of music, but not many can pull off multiple styles in an original way — let alone a way that actually sounds good. Count Patty Griffin among those rare musicians.
I've been a fan of Griffin's since I picked up her 1998 release Flaming Red, a compelling mix of punk, pop, and what was then referred to as 'alternative' music. Griffin's newest release, Downtown Church, is wildly different musically, but no less great a listen.
While some critics—and Griffin herself—have deemed Downtown Church a gospel album, it's much more than that. To my ears, it's an eclectic mingling of soul, blues, gospel, and a couple of songs those of us who have spent some time in the southern part of the United States refer to as spirituals. Griffin's voice is equally enchanting on each of the fourteen songs on the album, whether belting out gospel numbers like “Move Up” and “Wade In The Water,” or crooning the hymn that ends the CD, “All Creatures of our God and King.” Griffin's voice fairly caresses you on the album's lone Spanish language track, “Virgen de Guadalupe.” Though Griffin fluctuates between the somber and the lively, the album's flow and pure woman-positive energy is uninterrupted.
Recorded in the historic Downtown Presbyterian Church in Nashville—hence the album title—Downtown Church features backup performances from country and gospel heroines like Emmylou Harris, Shawn Colvin, and Regina and Ann McCrary. Even if this isn't the kind of music you'd normally tune in to, Downtown Church is definitely worth the listen.
Review by M.L. Madison
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