Singer-guitarist Matthews has a humble presence but one senses his mind and morality, and on Live at Radio City, a two-disk recording of a Radio City Music Hall concert he performed with his friend Tim Reynolds, an exceptional guitarist, Matthews makes casual comments—friendly, grateful (“it’s awesome to be here”), musical, and political (returning from Iraq, injured American soldiers are being denied benefits and signing bonuses)—that suggest Matthews’s gifts have not alienated him from daily life or ordinary people.
Compositions and Improvisations: Christian Scott, Anthem
There is a skittish rhythm in “The 9,” written by Scott with Louis Fouche, and something of the sound speaks of today, while “Like That” is late night music, and a version of “Anthem,” co-written by Jason Hunter, features the rowdy rap of Brother J of X-Clan. With that, the greatly promising Christian Scott has declared himself a jazzman of our time. Will he become a musician for all times?
Where the White Boys Dance: The Killers, Sawdust
A burst of guitar noise and a heavy drum beat, followed by Brandon Flowers’s Reedish singing—and then Lou Reed himself, form the beginning of “Tranquilize,” a song with lyrics such as “money talks when people need shoes and socks,” lyrics that also articulate fear of home invasion and feelings of stasis.
New Stories, New Sounds: Youssou N’Dour’s Give and Take (Rokku Mi Rokka)
On Rokku Mi Rokka (Give and Take), Youssou N’Dour sings in Wolof; and the album’s liner notes are in Wolof and English. Youssou N’Dour and Kabou Gueye’s song “4-4-44” is a festive celebration of freedom and family, of efforts appreciated and well-rewarded; and the music is strong on percussion and rhythm (the percussionists are Babacar Faye and Steve Shehan), with a kind of low, pleasantly rumbling sound—and N’Dour’s singing in it is a warm, male sound.
Songs of Mass Destruction by Annie Lennox
One of the interesting things about Lennox’s singing is that when she uses different tones in her songs, she summons different perspectives and it is as if we are hearing different aspects of the singer’s self. Her chanted litany in “Love Is Blind,” a litany of exhaustion and frustration, is as fierce a sound as any in popular music.
The Incomparable Streisand: Barbra Streisand’s Live in Concert 2006 and The Movie Album
Streisand is a classicist: she is informed by European classical music, and is part of the modern, popular tradition of the art of song that found its place on Broadway, and in jazz and Hollywood musicals. Is she working from memory, nostalgia, or great regard for the art form? She has been true to a tradition in which intelligent, loving, and witty words and beautiful melodies are central; and it is a tradition in eclipse thanks to the dominating noisy rhythms and rage to be found in rock and hip-hop.
A review of The Cat Empire – So Many Nights
They’ve stayed down-to-earth, innovative, and intimate despite their first two albums making platinum status and their third receiving an ARIA. This is a band that refuses to be pigeonholed. Listen to them, and I dare you not to smile and dance, even if you’re feeling glum. Their latest, So Many Nights is just a bit smoother and sweeter – maybe pop-ier than their last four.
A review of The Daring Book for Girls by Andrea Buchanan and Miriam Peskowitz
All in all, like The Dangerous Book for Boys, The Daring Book for Girls is a good-looking, long lasting gift that girls will turn to for inspiration repeatedly. The balance between doing and learning is nicely managed, and the information is geared to be interesting and exciting for young girls.
A review of My Inflatable Friend by Gerald Everett Jones
My Inflatable Friend is a super easy read that won’t tax even the laziest reader. It is pitched to a male audience in the main, and makes no apologies for that – there’s plenty of wish fulfilment, skirt chasing, and a definite male perspective. But the book isn’t dumb either.
A review of Magic and Grace by Chad Hautmann
Unlike Billie’s Ghost, the magic in Magic and Grace is all metaphorical. There are visitations though. Chapman’s father materialises temporarily to give Chapman his blessing, there are the ghosts of the ancient Calusa buried below the city of Naples where the book is set (and the ghost of the city as it changes progressively), and of course the ghost of Keats from Chapman’s first novel.