The New York Dolls
One Day It Will Please Us to Remember Even This (Roadrunner/Island)
With only two living Dolls, backed by a bunch of hacks from Hanoi Rocks, this has all of the makings of a band sleepwalking through the formula found on their classic 1975 debut. Whether this is really a New York Dolls record may be debatable, but this is easily the second best thing Sylvain Sylvain and David Johansen have ever done, infinitely better than Too Much, Too Soon. With the same raunch, fun and swagger found on their debut, each tune glitters in the glam. The doo wop rip-offs are still here, like in “Plenty of Music,” but songs like “Dance Like a Monkey” and “Gotta Get Away From Tommy” could even take the place of songs on that first album. It doesn’t make any sense that this is as good as it is, but it is. Diehard fans, rush out to get this—the first pressings include an hour-long DVD, which is unbelievable. 9/10 (Johnson Cummins)
The Sadies
In Concert Volume One (Outside)
This 42-song, two-CD set, recorded live in Toronto, captures Canada’s greatest treasure at their twangiest and raunchiest. As good—or heck, as amazing—as they are on their own, it’s the inclusion of special guests like Neko Case, Blue Rodeo’s Jim Cuddy and Greg Keelor, Jon Spencer, the Jayhawks’ Gary Louris, Jon Langford and more that makes this essential. The Sadies have always shined in the live setting, moving into extended jams without a hint of self-indulgence, but the aces up their collective sleeve at live shows have always been the covers, from Roger Miller to the Mekons (both of which appear here). Their masterful rendition of Pink Floyd’s “Lucifer Sam” is worth the price of admission alone. 8.5/10 (Johnson Cummins)
Some Girls
Crushing Love (Koch)
Keeping the embers of the Juliana Hatfield Three and Blake Babies lit, Freda Love, Heidi Gluck and Hatfield are back with a follow-up to 2003’s Feel It. The trio crafts a smart, catchy and, as the bio says, “disaffected but sexy” record with relatively clean and simple indie rock arrangements, and a few Stones riffs for response-band points. But it’s not all sugar, spice and everything nice. The band’s girlish pop is spiked by grim, sluggish musical tangents and lyrics dealing in heartbreak, booze and the superficial horrors of L.A. See their uppers and downers on the accompanying DVD. 7.5/10 (Lorraine Carpenter)
Windom Earle
Gold Wave (Boost Ventilator)
Yup, this Haligonian affair boasts 11 members in the CD credits, and yes, glockenspiel figures prominently. But chamber pop this ain’t. The one proper song, with vocals and standard structure, is “Kitten vs. Pegasus,” which unfortunately comes off like a Modern English number, and that we don’t need (the macho-meltdown joke of “Ted Nugent” wears thin fast too). But the rest isn’t songs so much as motifs worked to perfection, grafting together surf, new wave, math rock and the aforementioned orch-pop element to excellent, energetic, harmonious effect. The propulsive “Get On Into It” bears shades of Shadowy Men, “Guitorgan” is pumped up and powerful, and “You Can’t Dance to Dreams,” playing a sweet piano pattern off explosive drums, closes the record with class. 8/10 (Rupert Bottenberg) With Thundra, Gambletron 2000 and Sharp Like Knives at Playhouse, Sun., July 30, 9 p.m., $6
Archie Bronson
Outfit Derdang Derdang (Domino/Outside)
Here’s a British band that has it all: a nonsensical band name (there’s no Archie Bronson among them), a bass drum that reads “Shake Ye Hips” and a gritty, galloping blues rock sound like no other. Although their dark groove is almost comparable to the Jesus and Mary Chain and the Black Angels, singer Sam Windett makes this Outfit that much more distinctive. Like John Lydon or McLusky’s Andy Falkous, Windett has a compelling cracked alto that’s also good for a few laughs—he sings “I am a disco dancer, I’m gonna dance for you” as if being held at gunpoint. That’s entertainment. 8/10 (Lorraine Carpenter)
The Kooks
Inside In Inside Out (Virgin/EMI)
For anyone who’s noticed England’s drought, the drying up of palatable pop songwriting, this band may be a refreshing find—and no, there’s no Oasis in this metaphor. Although they’ve named themselves after a minor David Bowie song, and offer a few similarly throwaway head-bobbers, the Kooks are more akin to bands like Squeeze, the Police and Dexy’s Midnight Runners, a post-punk/new wave model not unlike that of Hot Hot Heat. But songs like “See the World” and “Time Awaits” have a fuller flavour that trumps their Canadian counterparts and leaves nauseating arena slop like Keane for the dogs. 8/10 (Lorraine Carpenter)
Shout Out Out Out Out
Not Saying/ Just Saying (Normals Welcome/Warner)
Not that they don’t do it well, but on their full-length debut, this Albertan sextet keep their dancefloor rock largely inside the parameters demarcated by the robot boogie of Daft Punk, the distortion-pedal disco of VHS or Beta and the plugged in punk-funk of the DFA clique—though the delightfully titled “Your Shitty Record Won’t Mix Itself,” with its hard-edged whine ’n’ grind, suggests classic Warp material. The pointless pulse-plod of closer “Do I Stutter?” aside, it’s in the final stretch that they start to find their own voice. “They Tear Down Houses Don’t They?” and even more so the juggernaut “Chicken Soup For the Fuck You” hit their targets hard, and are properly primed for the live setting that made the band’s name. 7.5/10 (Rupert Bottenberg)
Pharrell
In My Mind (Star Trak/ Interscope)
We all know that ladies love Skateboard P, and you’d probably be hard pressed to find dudes hating on Pharrell, considering his artistic and entrepreneurial reach in the last five or six years. While he’s always been successful making other people sound good, In My Mind feels a little light on the groundbreaking and engaging sounds that previous N*E*R*D* productions have employed. There’s plenty of tracks here that will dominate radio, like the catchy “Can I Have it Like That” with Gwen Stefani on the hook, or P’s characteristic drums and falsetto on “Angel,” but he’s far from being a formidable rapper, or singer for that matter. However, there’s still something about his voice that carries this whole record, even if he didn’t save any of the truly stellar beats for his own debut. Guests include Jay-Z, Kanye West, Nelly, Pusha T, Snoop Dogg and Slim Thug. 7/10 (Scott C)
Various
Paz e Futebol: A Selection of Brazilian Songs Compiled by Jazzanova (Sonar Kollektiv)
The Jazzanova crew thought the recent World Cup in Germany would be an opportune time to release a record celebrating some of their favorite Brazilian artists doing songs about futebol and the like. Not all the tracks here focus on the beautiful game, but it’s a great comp just the same. Marcos Valle takes the title track, as well as the wicked dancefloor boogie of “Estrelar,” while Arthur Verocai heats things up with the funky, rhythmic arrangement of “Presente Grego.” There are also songs from Brazilian mainstays Edu Lobo, Emilio Santiago, Joao Bosco and Boca Livre to heat up any one of the many sunny days still left in the summer. Too bad the Brazilian squad couldn’t stand up quite like this compilation. 9/10 (Scott C)
Various
Jamaica to Toronto: Soul Funk & Reggae 1967-1974 (Light in the Attic)
The Light in the Attic label has two precedents for this gorgeously packaged anthology in their catalogue. Wheedle’s Groove pursued a comparable mission of location-specific funk archeology for Seattle, while the self-titled Wayne McGhie & the Sounds of Joy reissue opened a file on Toronto’s Jamdown-tinted soul scene of the time (McGhie boast two tracks on this new comp). Proper reggae is in short supply here, but the diverse array of vintage funk and soul that constitutes the bulk bears distinctive Jamaican inflections. Given its mandate, the handful of clunkers here can be forgiven, especially after digging into Jackie Mittoo’s “Grand Funk” and the Cougars’ “Right On.” 7.5/10 (Rupert Bottenberg)
Hil St. Soul
SOULidified (Shanachie)
U.K.-based soul combo Hil St. Soul take a more subdued approach on their third release. While 2004’s brilliant Copasetik & Cool bristled with funky vibes and a hint of bhangra, their latest falls back on a more classic soul foundation. It’s not a bad thing, but it does mean that this is a set dominated by mid-tempo grooves. Once again, Zambian-born lead vocalist Hilary Mwelwa is in top form, navigating the folk-flavoured, self-affirming “It’s OK” as easily as the sweetly seductive “One of a Kind.” A pair of guests, King Reign and Dwele, add hip hop-flavoured jazz vibes to “Smoky Joint” and the equally appealing “Baby Come Over” respectively. Premium British soul. 8/10 (Gerard Dee)
Thelonious Monk- John Coltrane
The Complete Riverside Sessions (Riverside/Universal)
Brad Mehldau
House on Hill (Nonesuch/Warner)
Tom Van Seters
The Long View (VSM)
The Monk-Trane double CD contains all the music they did together for Riverside, including short and alternate takes, all 24-bit remastered. All were recorded in 1957, the year of their classic meeting at the original Five Spot. There’s wonderful music here including some tracks with both Trane and “the Bean” (Coleman Hawkins). The Mehldau is another top-drawer outing by the original trio with Larry Grenadier and Jorge Rossy. Nine originals by the leader, all exquisitely played. Eight compositions by former Montrealer pianist Van Seters, are played by a quartet of Don Thompson, on vibes for this one, Fraser Hollins and Karl Jannuska—well worth many listens. Monk-Trane 10, Mehldau 9.5, Van Seters 8/10 (Len Dobbin)
Mini CD Reviews
Warne Marsh Jazz of Two Cities (Fresh Sound) Over two CDs, improvising genius Marsh is joined by people like Art Pepper and Ted Brown. A broadcast from Bobby Troup’s TV show Stars of Jazz is an added bonus. 10 (LD)
Tuxedomoon Bardo Hotel Soundtrack (Crammed/Fusion III) These legends still prove to be masters of improvised composition. 8 (JC)
Eagle and Talon self-titled (independent) Two chicks from L.A. and Winnipeg carve themselves an edgy indie pop niche on this debut EP. 7 (LC)
Klee Honeysuckle (Minty Fresh/Fusion III) Like their namesake’s paintings, this German trio generate material that’s simple, certain and luminous. 7 (RB)
Lullaby Baxter Garden Cities of Tomorrow (Boompa) A slight, pretty, whimsical follow-up to 2000’s Capable Egg, in the couleur of jazz. 6.5 (LC)
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