Whitley goes forth

A baby-face like that which belongs to Lawrence Greenwood (Whitley) surely isn’t capable of delivering music so deeply detailed by themes of existentialism, is it? This implies an aged, musician created it.  Managing to turn the archetypal ‘soul’ musician mould on its head and replace it with his own self, there is a rare maturity demonstrated to this man’s music.

His second album Go Forth, Find Mammoth lives as testament to understanding why Whitley looks set to endure as a successful artist even perhaps beyond his years.

Emotive lyricism applied to beautifully crafted instrumentation is probably what achieves this mantle for him. He’s blessed with an uncanny ability to write poetic, esoteric song lyrics and shape these around a musicality that only the most seasoned musicians manage to achieve. 
 
‘Head First Down’ is the single being played non-stop on radio and aptly it sets the tone for an album which poignantly delves into the notion of life – we’re born and then we die. Through the collection of songs on this album Whitley dares to ponder the aspects in between the life cycle, those which enrich our souls and contribute to our personal tapestries.
 
Whitley illustrates his ideas around this perplexing paradigm via a lovely meandering album which ebbs and flows much like life itself tends to.Tied together in the album notes as dedicated to Jonathon Livingstone Seagull, a philosopher of great influence it appears to Lawrence’s ability as a songwriter.
 
Adding to the richness of this album are those whose help he’s enlisted. Band-mates and friends Washington, lend their services on tracks including the blissful female overtones of Hazel Brown - on Killer. Even nature itself gave a helping hand, with ‘The piece you took from me’ enhanced by the real rolling thunder clouds of a storm going on overhead.  
 
If possible Whitley is already a master at his craft his latest album demonstrating he’s not only evolving in sound but his ability to write breathtaking songs is astounding.

Ruth Bailey

Posted: December 31st, 2009 under ALBUMS, FESTIVALS.
Comments: 2

I am man, hear me roar

A beautiful collection of songs performed in era’s past by some seminal female names in music exists today on the No Man’s Woman compilation.

Tracks as varied as Kate Bush’s Wuthering Heights, Bjork’s Hyperballad, as well as modern day pop princess’s The Veronica’s 4eva have been featured on this anthology. One small difference is noted when listening, that is each song has been reworked by an accomplished Australian male musician.

That’s right the lads from some of Australia’s most favoured rock acts including Powderfinger, End of Fashion and Expatriate and solo artists like Kevin Mitchell aka Bob Evans and Paul Kelly have assembled here with their own track choice the only criteria being that it was originally to have been made famous by a female musician.

Clever premise for an album I hear you say, and yes in fact the idea for this album was borne from a music fan’s intrigue to hear Oz greats, You am I cover Patti’ Smith’s Rock ‘n’ roll Nigger. Interestingly though that particular song is an omission from the album’s tracklisting (perhaps this time around?) but not to worry, despite this there are some lovely surprises that demonstrate the masters of music doing their thang.

Many of the songs selected would be remembered for the manner in which they were originally delivered. Sinead O’connor’s Nothing compares 2 U sat at the top of the Australian charts when it was released for an (at the time) unprecedented number of weeks - probably due to the anguish and emotion that Sinead brought to the lyrics. Dan Brodie, some 17 years on has managed to recapture the fragility in his version however he’s tweaked it to have an almost reggae undertone which surprisingly works incredibly well.

That old adage ‘what was once old is new again’ will almost certainly ring true on No Man’s woman. Blondie’s Hanging on the telephone, Lior’s beautiful take on Fleetwood’s Mac’s (Stevie Nicks) Landslide are just two stand out recreations. Of course a whole new audience and generation will feel the serenade potential of these songs and think they are originals.

Not only does this album allow us a walk down memory lane but we are privy to the fabulous talent that exists in our music industry today. The rising star that is Angus Stone catapults from the get go with a poignant rendition of Joni Mitchell’s River. It is fair to say for the most part it’s a pleasant journey into the hearts and minds of our Australian male artists.

One disappointment, to these ears anyway, was the offering that Bernard Fanning and the boys from Powderfinger served up. I’m quite partial to the original track Glorybox so that might be responsible for fuelling my discontent. The exquisite vocal from Beth Gibbons of UK ‘s trip hop act Portishead is absolutely iniliated in place of a gravelly and gruff Fanning’s tones and the drum beat behind this is far too heavy.

In most instances though this album’s tracks are reworked with the band or artist’s signature styling. Expatriate consider themselves experimental with electronica and so they’ve applied that to Everything but the Girl’s (Tracey Thorn) Missing.

Some big risks taken in many of these versions and in most cases the delivery is unusual but still manages to retain the essence of the original track. Something so very important to keep hold of in a compilation like this as this collection features some fairly seminal moments in music reborn.

No Man’s Woman is released on Universal Music and for a limited time features a second cd of the original artists.

Posted: October 11th, 2008 under ALBUMS.
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Muscular type

Three words - Guns Babes Lemonade. It’s a punchy indictment on the electro movement today is what it is. But it happens to be the debut release from Aussie man of the moment - Muscles.

This 22 year-old from Shepparton Victoria, has risen in the past year to provide some very catchy and dance worthy tracks. “Sweaty”, “Ice cream” and “One Inch Badge Pin” are the singles from it thus far and each has its own unique elements but cocooned within the characteristic dirty synthesizer and very eighties sounding keys.

If you see him perform live, you’ll appreciate the gravelly man-shout that overlays this pop disco sensibility, but translate it to the album and it seems to lose just a little of it’s pizzazz. Mind you only a little.

And perhaps my other criticism of this album is that whilst each of the singles and for the most part songs stand alone as well crafted tracks when you listen to this album in one sitting unless you’re shooting the lasers yourself it could get a little grating.

Overall though, his back story to flex and the execution of this album are recognizable of a very skilled man at work. He’s certainly managed to capture the essence of summer and dancing right here with Guns Babes Lemonade.

Posted: October 11th, 2008 under ALBUMS.
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Sassy soundtrack

It might have been four years since the curtains came down on the hugely successful series but I can guarantee you the closing scenes of Sex and the City (where Carrie struts down a Manhattan street and looks at her phone to see Big calling) are etched in peoples minds because of the song bringing in the fade to black, “You’ve got the love” by Candi Staton. This is for many the unofficial theme song popular for years since the series ended.

The release of the eagerly anticipated Sex in the City Movie, this month, not only means a return to New York City and catching up with our favourite girls as they navigate through their life hurdles but it also brings with it a soundtrack to remember the experience by.

The first thing which struck me when I was listening to the assembly of tracks is how truly authentic in positioning you with location, setting and ambience the tracks are.

As stand alone tracks they work but the ordered arrangement means they tell a story too. The story to the film.

Salaam Remi is the producer who was charged with interweaving these tracks and he’s worked hard to ensure that each selection offers a certain je ne sais quoir, to leave you with the feeling you were listening to it in a Manhattan bar.

The soulful elements of NYC heartache and love are captured by the powerful and poised Jennifer Hudson. Her song “All dressed in love” was written especially for her voice by dynamic duo Mc Jack Splash (lead singer to the soulful Plantlife) and Cee Lo Green from Gnarls Barkley. The lyrical loveliness of Jess Stone is coupled with Al Green’s dulcet tones to bring a heart wrenching duet and one of the two Bee Gee covers on this soundtrack “How can you mend a broken heart”. Which I can only gather features in the break-up scenes of the movie as it’s a really sad version of this song.

The lighter side of the album offers ‘Fergilicious’ wonder with her special reworking of “Labels or Love”. A fairly hip hoppy version of the theme song from the series but fun none the less. As well as what I’m sure must be the girl’s have got power anthem of the unlikely but quite likeable Run DMC’s “Walk this way”.

Another clever aspect to the composition of this album is I believe in the variety of styles Remi has opted for too. Stringing this soundtrack together is a very strong thread of house. Upbeat, or chilled beats, Bliss’ “Kissing” and Kaskade’s “I like the way” envelope you in merriment and mystique at the twilight hour of Manhattan life.

My two very favourite tracks happen to follow on from each other. I thought it was fitting to have the Bee Gee’s “How deep is your love” and in the acoustic and eerily beautiful cover rendition by The Bird and the Bee, the timelessness of this track is reignited. It could possibly give rise to usurping “You’ve got the Love” from it’s all-time soundtrack song posting. But I’ll have to reserve judgement till I’ve seen the movie.

India Arie has also donated a piece of her own heart with “Heart of the matter” a beautiful vibey tune that gives birth to imagined New York summers spent sipping cocktails with fabulous girlfriends in my mind.

For this is its purpose, the soundtrack to the Sex in the City feature film is best enjoyed listened to with your own good girlfriends a glass of bubbly or vino in your hand, perhaps even a cosmopolitan for true die hard fans.

Sex and the City Soundtrack is out now through Universal Music.

Posted: October 11th, 2008 under ALBUMS.
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V for Van She

I have nothing but praise for the debut album from Van She - V. It’s one of those albums that not only demonstrate their talents as musicians who are in touch with their era, but it goes a long way to understanding the evolution of this band and their sound.

Strangers is the fun melodic -electro anthem, high on synth and throbbing keyboard underpinnings that has been chosen as the single for first release and it’s been receiving radio play in huge increments. We were introduced to their refined sound earlier this year while they toured under the title of track two, Cat and the Eye - so it wasn’t as if we hadn’t been privy to the direction these boys from Van She have been heading.

The stand out track of the album is Changes for me. It’s a pop-sonic melody which is mildly reminiscent of French maestros Phoenix. This is none-to surprising as Van She have been exposed to those guys – touring with them as well as playing support fiddle to other French aficionados of dance – Daft Punk.

I admire the inclusion of Kelly (they’re previously well known hit) on this album as it serves to remind us of where they’ve been and where they are running to. I would suggest this song has been given a reworking and it would sit easily in the song listing for the Pretty and Pink Soundtrack totally reminiscent of the Psychedelic Furs. They’re ability to pour progressive rock, spaced out synthesized supple-ness with a dose of good ole fashioned shoe-gazing means there is much to discover in this album.

I’m totally in love with tracks 11 and 12 - Sharp Knife for it’s downbeat dreamy-ness again hints at, (to these ears anyway) Phoenix and Sunbeams respectively, closes the album nicely.

As well as this album being a real grower, for it’s rock-infused galactica style journeys I can tell you, having seen the band perform recently as part of the Modular Van She Parties you won’t be disappointed. The energy these guys are giving out when they are performing these tracks is phenomenal, goes to show just how into their evolved sound they as a band are too.

Catch them at Splendour in the Grass or as part of their national tour in the coming months!

V is available through Modular Records and Universal Music.

Posted: October 11th, 2008 under ALBUMS.
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