"As my friend Utah (Phillips) would say, freedom is something we are born with, like our eyes and our ears. Then we wait for someone to come along and try to take it away. The degree to which we resist is the degree to which we are free."
--Ani DiFranco conversing with Sekou Sundiata, in the former's book of lyrics, Verses (published by Seven Stories, 2007)
Ani DiFranco--Which Side Are You On? (Righteous Babe): Which Side, DiFranco's first album in three years, finds the woman who re-invented punk-folk in the 1990s at peace with herself while never failing to ask the tough questions. Her records have been strained, somewhat hit and miss in recent years, but this one's a keeper. Topics range from the continued pollution of our souls (via living in the modern world) to getting older and enjoying our own growing wisdom--in "If Yr Not," the hook is, "If yr not getting happier as you get older/Then yr *%#^ing up." DiFranco's version of the title track, long associated with Pete Seeger, is a glorious transformation of a folk classic into a startling piece of music, complete with New Orleans-style horns and updated lyrics.
Though not a match the great run of records DiFranco made in the mid-'90s (Not a Pretty Girl, Dilate and the startling live set, Living In Clip), Which Side Are You On? is quite a return.
Eric Dahl--Live By Your Word (Yew Lane): His first record in ten years, Dahl's latest was tossed off rather carelessly in an Austin Chronicle review last August, which opined that his "raspy vocals aren't very musical," just one of several unfair little snips. It took me
until November to hear the album; I was struck by Dahl's varied styles, from rock to Americana, and an impressive vocal approach, as his singing vaguely recalls Chris Rea's. Dahl was based in Seattle for years and then recorded these tracks during a three-year period in Austin before he moved to Georgia. How could a journalist--no matter where they're based--take this excellent stuff for granted? I guess there's so much good music in Austin that some reviewers have lost their ability to appreciate it.
Sista Monica Parker--Living In the Danger Zone (Mo Muscle): Parker's always been a powerhouse blues and gospel vocalist, but with Danger Zone, she's picked up the tempo and tightened up her arrangements, echoing what Tracy Nelson did last year with Victim of the Blues. There are several self-determined songs that rank among Parker's best ("Fierce Force of Nature," "Unstoppable!") and her tough, concise approach makes
Living In the Danger Zone come alive.
Ringo Starr--Ringo 2012 (Hip-O): Our pal Ritchie makes fun, serviceable albums; I must admit that I usually file them away after a couple of listens--though I usually play a new album cut on the radio when it's his birthday. Ringo 2012 has its moments ("Samba," written with Van Dyke Parks, has a great feel), but there are also unnecessary remakes of his songs like "Step Lightly" and a repeat of "Think It Over" from one of last year's Buddy Holly tributes. Kinda skimpy in length--29 minutes (what is this, Beatles '65? No it's not, or even 1992's Time Takes Time). Perhaps the true test of whether Ringo 2012 is worthwhile or not has to do with the performance video that is included in the commercial copies. Haven't tracked that part down yet.
Glen Campbell--Ghost on the Canvas (The Record Company/Surfdog): Jennifer Hudson's powerful, intimate voice-and-piano tribute to the late Whitney Houston wasn't the only moving part of last week's Grammy Awards presentation. The celebration of Glen Campbell's life in music, which included the man himself, re-established his artistic virtues that have been all but ignored for years--don't forget that Ray Charles considered Campbell's "Wichita Lineman" one of the most soulful records of the late '60s. You probably know that the singer-guitarist's current tour and Ghost on the Canvas are GC's final two projects, as he battles severe health problems. It's such a beautiful, heartbreaking record, full of the stellar, orchestrated pop and even some wonderful uptempo stuff (Teddy Thompson's "In My Arms"--it's easy to pick out Dick Dale's playing on it). Other modern material comes from Guided By Voices' Robert Pollard, Jakob Dylan and ex-Replacements leader Paul Westerberg, and Campbell himself. "It's Your Amazing Grace," co-written with producer Julian Raymond, is as poignant as any doomed person's reflections could ever be. That Grammy audience sure threw back a lot of love Campbell's way; perhaps he will find the strength and luck to hang around some more.
--Ani DiFranco conversing with Sekou Sundiata, in the former's book of lyrics, Verses (published by Seven Stories, 2007)
Ani DiFranco--Which Side Are You On? (Righteous Babe): Which Side, DiFranco's first album in three years, finds the woman who re-invented punk-folk in the 1990s at peace with herself while never failing to ask the tough questions. Her records have been strained, somewhat hit and miss in recent years, but this one's a keeper. Topics range from the continued pollution of our souls (via living in the modern world) to getting older and enjoying our own growing wisdom--in "If Yr Not," the hook is, "If yr not getting happier as you get older/Then yr *%#^ing up." DiFranco's version of the title track, long associated with Pete Seeger, is a glorious transformation of a folk classic into a startling piece of music, complete with New Orleans-style horns and updated lyrics.
Though not a match the great run of records DiFranco made in the mid-'90s (Not a Pretty Girl, Dilate and the startling live set, Living In Clip), Which Side Are You On? is quite a return.
Eric Dahl--Live By Your Word (Yew Lane): His first record in ten years, Dahl's latest was tossed off rather carelessly in an Austin Chronicle review last August, which opined that his "raspy vocals aren't very musical," just one of several unfair little snips. It took me
until November to hear the album; I was struck by Dahl's varied styles, from rock to Americana, and an impressive vocal approach, as his singing vaguely recalls Chris Rea's. Dahl was based in Seattle for years and then recorded these tracks during a three-year period in Austin before he moved to Georgia. How could a journalist--no matter where they're based--take this excellent stuff for granted? I guess there's so much good music in Austin that some reviewers have lost their ability to appreciate it.
Sista Monica Parker--Living In the Danger Zone (Mo Muscle): Parker's always been a powerhouse blues and gospel vocalist, but with Danger Zone, she's picked up the tempo and tightened up her arrangements, echoing what Tracy Nelson did last year with Victim of the Blues. There are several self-determined songs that rank among Parker's best ("Fierce Force of Nature," "Unstoppable!") and her tough, concise approach makes
Living In the Danger Zone come alive.
Ringo Starr--Ringo 2012 (Hip-O): Our pal Ritchie makes fun, serviceable albums; I must admit that I usually file them away after a couple of listens--though I usually play a new album cut on the radio when it's his birthday. Ringo 2012 has its moments ("Samba," written with Van Dyke Parks, has a great feel), but there are also unnecessary remakes of his songs like "Step Lightly" and a repeat of "Think It Over" from one of last year's Buddy Holly tributes. Kinda skimpy in length--29 minutes (what is this, Beatles '65? No it's not, or even 1992's Time Takes Time). Perhaps the true test of whether Ringo 2012 is worthwhile or not has to do with the performance video that is included in the commercial copies. Haven't tracked that part down yet.
Glen Campbell--Ghost on the Canvas (The Record Company/Surfdog): Jennifer Hudson's powerful, intimate voice-and-piano tribute to the late Whitney Houston wasn't the only moving part of last week's Grammy Awards presentation. The celebration of Glen Campbell's life in music, which included the man himself, re-established his artistic virtues that have been all but ignored for years--don't forget that Ray Charles considered Campbell's "Wichita Lineman" one of the most soulful records of the late '60s. You probably know that the singer-guitarist's current tour and Ghost on the Canvas are GC's final two projects, as he battles severe health problems. It's such a beautiful, heartbreaking record, full of the stellar, orchestrated pop and even some wonderful uptempo stuff (Teddy Thompson's "In My Arms"--it's easy to pick out Dick Dale's playing on it). Other modern material comes from Guided By Voices' Robert Pollard, Jakob Dylan and ex-Replacements leader Paul Westerberg, and Campbell himself. "It's Your Amazing Grace," co-written with producer Julian Raymond, is as poignant as any doomed person's reflections could ever be. That Grammy audience sure threw back a lot of love Campbell's way; perhaps he will find the strength and luck to hang around some more.
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