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What an amazing juxtaposition Amy Winehouse’s music is:

Without the vocals, this music could be pulled straight from the 50s. But then, Winehouse starts singing, with a voice that, too, could be pulled from ths 50s, but blasting lyrics which are cleary modern. My favourite example is the beginning Me and Mr. Jones: “What kind of fuckery is this?”

Quite honestly, I think this is a beautiful album, that, as I mentioned, seems to play these sounds that people know from a “better day” and lyrics which, at points, are harsh, direct, and occasionally obscene.

The album also manages to show some pain, which seems clear based on some googling and the self-destructive path that Winehouse is on. Then again, every good artist has a lot of pain inside.

I’m currently enjoying Me and Mr. Jones (for the aforementioned lyric), Love is A Losing Game (a beautiful but sad song), and Rehab (A seemingly self-mocking tune).

In the end: You know, I won’t lie, if you don’t listen to closely to the lyrics, a lot of song scould definitely be playing in the background during more… intimate times. It’s a great package who’s only fault is that it finishes at 35 minutes.

Technorati tagged: Amy Winehouse | Female Vocalists | Jazz | 2006

Sometimes I wonder if I’ve managed to impress upon people how much of an amazing talent Regina Spektor is.

After discovering her latest album, Begin to Hope, I went back to explore her previous works. It turns out that Hope is actually her most pop-ish album.

11:11 takes a much more jazz-like approach, with aspects of poetry, a beatnik sound, and a feeling of improv. One song is heavily reminiscent of Mike Myers’ reading scenes in “How I Married an Axe Murderer.”

The album doesn’t carry the Top40 pop tune(s) that Begin to Hope does, and I think that’s for the best. I think 11:11 may be most indicative of her work and talent, even if it feels a little rough.

Rejazz, with it’s heavy bass, creates an atmosphere of a smokey jazz club in the 40s; Flyin’, a very basic song (just her voice and the sound of someone banging on a single drum), is playful, but sadly short; 2.99c Blues is my favourite track, banged out on a piano with Spektor playing a lot with her vocal range; and I Want to Sing features the only instrument Regina needs: her voice.

In the end: This album is a bit erratic, but beautiful and smokey, with a very high replay value. If you’ve discovered the joys of Regina Spektor, you best not have missed this album.

On the Web: Hit up the Hype Machine, and check out a bootleg of hers from last year, courtesy of my gigasize account.

Technorati Tagged: Regina Spektor | Jazz | 2001