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And then there is the other side of an album of covers. Patti Smith’s “Twelve.” Yes, the “Twelve” refers to the number of tracks.

From Jimi Hendrix to Tears for Fears, Nirvana to the Allman Brothers, Smith manages to at least break even, if not come up a little bit ahead by the time of the album.

When doing a cover (just one or a whole album), you have to take in to account how the fans will respond. If you end up just doing an uninspired, flat out cover (see: Bryan Ferry’s “Dylaneseque”) you could alienate the fan-base. If you do too much experimentation and alteration, you may be heralded for creative, but again shunned for destroying a “classic.”

Smith plays it safe. There’s not a lot of stretching the musical boundaries (except for the banjo in “Smells Like Teen Spirit;” It works!), but she does some faithful work to bring her back to the front of pop culture.

Where I feel “Are You Experienced?” failed a bit in Smith’s hands, she manages an even-keeled “Everybody Wants to Rule the World.” “Gimme Shelter” is belted out with some serious force to give Mick a run for his money, but Paul Simon’s “Boy in the Bubble” feels a bit awkward.

Where she does things so very right is the Beatles’ “Within you without you,” Nirvana’s “Smells Like Teen Spirit,” and the Allman’s “Midnight Rider.”

In the end: Again, this is the good side of a cover album. It feels like Patti Smith took special care in picking these songs and worked them up to play nicely with her voice. Like I said, it’s no world-shattering re-imagination, but it’s 12 songs from the pop-vernacular performed for us with Smith’s unique vocal strains. Worth at least a once-through.

Technorati Tagged: Patti Smith | Cover Album | Rock | 2007

Bryan Ferry covers Bob Dylan. It’d at least be an interesting match up, right? One would think.

Yeah, not so much.

The entire process seemed uninspired, unimpressive, and downright insulting to Bobby Dylan’s work.

The problem may stem from having absolutely no attachment to Bryan Ferry or any of his work, my complete dislike of his voice, or just that these all seem to be bland interpretations of some major and minor Dylan tunes.

And, to be honest, I didn’t think anyone could screw up “Watchtower.” The song has been covered, altered, re-imagined, had the re-imagining become the definitive version, covered, altered, and replayed so many times. I don’t think you can be a band without covering “All Along the Watchtower.” Hell, even Battlestar Galactica did.

Yet, here is Bryan Ferry, shoving this pitifully lame, soulless version of a Dylan uber-classic.

In the end: The whole thing feels awkward and clumsy like a 15 year old unhooking his girlfriend’s bra for the first time. There are good cover albums out there, there are bad cover albums out there, and then there’s this one. Please, do us all a favour and pick up Patti Smith’s “Twelve.” At least she tried to mix things up a little bit.

Technorati Tagged: Bryan Ferry | Cover Album | Rock | 2007

If this were the late 90s/early 00s (all over again), I feel like people should be clamoring harder about Amanda Marshall. Sadly, she snuck by my radar a few years back, and I only recently discovered due to a blog post on one of the music blogs I frequent.

Marshall’s “Everybody’s Got A Story” is completely planted in the pop/rock field of the aforementioned time period. A few years later, it clearly sounds as though it were a period piece, but that makes it no less enjoyable. On the contrary, if you can suspend your current musical sensibilities, this is one hell of a fun album.

The title track is reminiscent of any number of tracks off of Natasha Beddingfield’s last album, just clean fun pop. Colleen (I Saw Him First) is a cute, mellow tune about two life long friends arguing over a boy. Sunday Morning After is a great tune for anyone who’s partied, perhaps, a little too hard on Saturday night; I think we can all relate to at least part of this tune.

In the end: The album feels like a throwback to an earlier time, because, really, it is. It definitely illustrates how the face and sound of pop music has changed, but it’s still an enjoyable piece, one that has a few tunes to keep your foot tapping. And, hey, if nothing else, she’s cute.

Technorati Tagged: Amanda Marshall | Pop Rock | 2002

Feist, oh darling Feist.

My love affair with this album started with a video for “1, 2, 3, 4″ which Caitlin posted at her internets music musings blog, Beginning to See the Light. I mean, really, metallic blue tube top pants suit? Genius.

Anyway, I heard the song, and then played it a dozen more times. So simple, so beautiful, so wonderful.

So what did I do? Well, two things: immediately (and illegally) downloaded it and the proceeded to purchase it because it’s so damn good.

That’s right. I bought the album. Baby don’t buy an album unless it’s good. It’s a good start.

The album starts a little slow, with “So Sorry,” most assuredly a break up tune. But, like a label pairing of opener and headliner, it’s good… just differently so.

I Feel It All and My Moon My Man (sounding remarkably Spoon-ish), however, kick things up. Mind you, kicking it up on this album isn’t exactly rock and roll. It’s just… pardon the pun… Feistier.

The whole album roller coasters up and down like this, but never wavers in quality.

There are some truly amazing tracks, ones that just jump out at me. My Moon My Man, as mentioned, is evocative of Spoon which immediately kicks it up in my book. Sea Lion Woman feels like it could have been ripped either from Nina Simone or Paul Simon (during his African tribal beats days). 1, 2, 3, 4 is just a light, airy tune, something you almost feel like you might here on a summer night, with your legs dangling off of a dock, making small waves in water of some secluded lake, dusk just approaching. The rough simplicity of Intuition gives the song a feeling of intimacy, as though this were just some acoustic demo being played for the first time in your buddy’s basement.

In the end: Fans of Jem (unplugged), Cat Power, or even that darling Jenny Lewis, will definitely enjoy this one. It teeters on the pop/acoustic/alternative edges, but never offends sensibilities; only warms them. Check it out, or, as Han Solo once said “Don’t be a fool!”

On the web: As mentioned, Caitlin has the video for 1, 2, 3, 4 on her blog. I’ll post her KCRW session tomorrow. Also, here are two tracks from her Radio performance a couple days ago: Feist: Live on Radio 1

Technorati tagged: Feist | Stripped Down | Female Vocalist | 2007

I won’t lie. This is a chance for me to write about two things I love: BSG and TV/Film scores.

Bear McCreary, for 3 seasons has been tasked with producing the scores to Battlestar Galactica. Building on what was created by Richard Gibbs in the Miniseries, McCreary’s work has touched on nearly all aspects of world music to create a lush, exciting musical background for TV’s best SciFi (and, arguably, best drama).

Season 2’s disc starts out with a rework of the old (70s) Battlestar Galactica’s theme to play the part of the Colonial Anthem, and suddenly, what was once hokey is now a beautifully orchestrated and arranged piece of music.

Many of the album’s tracks, including A Promise to Return, Allegro, Reuniting the Fleet, and Worthy of Survival, all build on themes which McCreary original composed in Season 1. They tend to feel a bit repetitive in the scheme of things, but are no less beautiful.

Some of the more original tracks are the reason this is one of my most listened to albums week after week. The musical theme for the not-allowed-to-happen relationship between Roslin and Adama is beautiful, crafted to convey love, and also containing a pinch of the pain that comes from knowing that love will never be.

Meanwhile, the main theme to episode 16 in Season 2 is Black Market, which meshes hard rock with beautiful middle eastern tones to create what I can only describe as “bad-ass.”

Of course, my hands-down-favourite track on the disc is Prelude to War. The track builds in a way which can, in fact, be described as preparing for battle (or, yes, a prelude to war). The use of drums and strings in the piece create a tense, high energy 8.5 minutes which, if you ever have watched the show, make you wish you were in the cockpit of a viper. I know I drive my car that way.

In the end: Obviously this is a niche piece. I get that. But, if you’ve never seen BSG but still enjoy TV/Movie scores, check it out. Of course, if you’re as hooked as I am, you’ll do anything you can do to get any and every piece of BSG action.

Technorati Tagged: Bear McCreary | Battlestar Galactica | TV Score | 2006

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

Oh women and their pianos, will you ever not be a weakness of mine?

After taking a look at the music section in the Boston Globe, I found a note that Ms. Dienel (a former Boston native) would be playing in town. Well, gee, she looked cute, and that was enough for me to check out her myspace page. Which led me to the opening track of Doctor Monroe. Four notes in, I was sold. I hadn’t even heard her voice but I knew, somehow, it would be good.

And so it continued. Wind-up Canary is 12 tracks spanning just shy of 50 minutes, and contains a lot of the playfulness that a similar songstress uses, that being Nellie McKay.

Unlike your standard woman-at-a-piano music, Dienel’s work isn’t just about longing, pain, and heartbreak, but also some fun narratives and keen observations. Plus, she ends up involving a banjo at one point, and I can’t lie: I’m a sucker for a banjo.

Doctor Monroe, Baby James, Frankie and Annette (and, please, tell me you don’t here the Ballad of Brenda and Eddie hidden in there), and All or Nothing are, perhaps, the most telling tracks of both the albums seriousness and light-heartedness.

In the end: I’ve got room in my heart for another Boston gal, and Casey happened to slide on in. This may not be Grammy award winning music, but it’s fun, it’s enjoyable, and it’s better than the shit that does win Grammys. To me, that says “good record.”

On the web: Behold the power of MySpace. And if that frightens you, there’s always her Official site.

Technorati Tagged: Casey Dienel | Female Vocalists | Piano | 2007

Another Rock N Roll crush is my Scottish heartthrob, Ms. KT Tunstall.

On the heels of her wildly successful, awesome, amazing, and wonderful disc Eye to the Telescope, KT goes the more acoustic route, doing an “Unplugged”-style disc comprised of 10 tracks. It’s fairly standard fair for Ms. KT, but she handles it well.

Tunstall throws us a few ropes with the inclusion of some as-of-yet unreleased songs, including my personal favourite, Ashes. Change also manages to pick up some haunting atmosphere done on the acoustic guitar.

In the end: Sure, standard fair from Tunstall is still far above most of what we have these days, but it still feels fairly standard. It’s a great way to get some new material out to the fans without doing a full album, but it really doesn’t help to understand the direction she’s going. If you like KT, you’ll adore this.

Technorati Tagged: KT Tunstall | Rock | Acoustic | 2006

I’ve got a back log of things to report on, so let’s start with a pair of acoustic albums. First up, my darlin’ from Philly, Ms. Trisha O’Keefe.

After picking up her All the Honest Liars, listening to it, and then saying my peace. Well, sometimes people listen.

If you recall, I said:
“Not having seen her live yet, I don’t know if her look matches with the rock sound she strives for, but listening to it, I feel like she should be accompanied by just an acoustic guitar more often than she is.”

And, lo and behold, Live!, who’s greatest failure is it is only 6 tracks long. Over the course of the tracks (recorded at the Tin Angel), Trisha manages to turn an acoustic guitar into a sprawling rock conerct while still maintaining the intimacy of a coffee shop. In my mind, it takes a great talent to do that.

Take a listen to Never Enough, Nobody’s Love, and Drowning Me Slowly for a good sampling of this gal’s range.

In the end: Acoustic fans will love it. Rock fans will love it. Anyone who likes Trisha, of course, will love it.

On the web: The EP is only 6 bucks on iTunes. Or, if DRM frightens you, hit up ItsAboutMusic.com and get it in wide open and clear Em-Pee-Three. Also, only 6 bucks. You won’t be let down.

Technorati Tagged: Trisha O’Keefe | Small Artists | Rock | Acoustic

I know it’s hard to believe, but I heart Regina Spektor.

Regina’s last indie release (which was later re-released on her Major Label) is a schizophrenic romp through the musical genius that is Ms. Spektor. It seems to bridge her brave and creative anti-folk beginnings and her pop-rock endeavours of the present and future, as heard on Begin to Hope.

The beautiful Kitsch is heavily piano-driven pop/rock/folk/anti-folk album with a lot of character and spunk, filled with the charm that is Regina Spektor and the staying power of most any Zep album.

Poor Little Rich Boy plays on the starkness of the instruments, with just a quieted piano and two drum sticks banging on a table, exquisite; Us is, perhaps, your top 40 pop track of the album, with an upbeat tune and lyrics; Sailor Song is a favourite simply for the chorus lyrics of “Mary ann’s a bitch,” and either you get the joke, or you don’t; And the album finishes with Somdays, which is beautiful, sad, and yet up-lifting, ending the album on this bittersweet note.

In the end: Many people enjoy this album more than Begin to Hope, and they have every right to. It’s more imaginative and inventive. If you enjoyed Hope, you’ll most likely love Soviet.

On the Web: The Hype Machine helps people help themselves. If you can find the remix of Us on there, it’s worth the download.

Technorati Tagged: Regina Spektor | Anti-Folk | 2001