BARRY WHITE
Can’t Get Enough (Polygram)
BARRY WHITE
All Time Greatest Hits (Polygram)
To say White’s voice was distinctive is paramount understatement. That voice, combined with the lush melodies of his 40-strong Love Unlimited Orchestra, was the booty-call mood stimulator for a generation. His landmark ’74 release Can’t Get Enough (now available on disc), which features signature tracks “You’re the First, the Last, My Everything” and “Can’t Get Enough of Your Love, Babe,” completed a trio of albums that firmly established him as the Icon of Love. Those tracks, along with staples like “Love’s Theme” and “It’s Ecstasy When You Lay Down Next to Me” make his All Time Greatest Hits essential listening for anyone wanting to get more familiar with the voice that’s jumpstarted many a long, sweaty night. He’ll be missed. Both 9/10 (Gerard Dee)
THE HIGH DIALS
A New Devotion (Rainbow Quartz/Fusion III)
Remember the Datsons? Montreal’s mod ’n’ soul contingent of 2000? Well, now they’ve got a new name to match the new ambitions of this epic, quasi-conceptual opus of an album. Old fans will recognize the smart lyrics and top popcraft, though the ’60s influence swings more towards the Zombies than the Who. It’s retro pop without the limited arrangements, the tinny mix or the rampant kleptomania. It’s a dance party that makes time for melancholy and a touch of the fear. And the disc ends on such a high note, such a tease, that waiting another three years for the sequel seems almost tragic. 9/10 (Lorraine Carpenter)
LOGH
The Raging Sun (Bad Taste/Outside)
Although this style is being done to death, Sweden’s Logh weld post-rock to pop perfectly, but add something new to the mix. Singer and sole writer Mattias Friberg proves himself quite the composer by adding more middle eights than choruses, letting weighty verses deliver the punchlines and keeping his motives obscured. Despite being on a prominently hardcore label, Logh set all phasers on lull with slow tempos and arpeggio guitars chiming away, but in “The Bones of Generations” and “City, I’m Sorry,” they do switch gears and wake you up with some serious blast. Note to fans of the Weakerthans and Polvo: you must own this. 8/10 (Johnson Cummins)
THE SUPER FRIENDZ
Love Energy (Outside)
Halifax’s exploded heroes are back, free from the shackles of arch villains the Flashing Lights, Neuseiland, Buck 65 and the Joel Plaskett Emergency—for now (wu-ah-hahahaha!). Armed with melody, harmony, classic flavours and bright ideas, the Friendz fight indie rock injustice with spunky (but responsible) party songs and introspective pop. They don’t cheat, they don’t smoke cigarettes, but they’ve been caught stealing and will be punished—Superman loves dealing out the pain. (And I don’t wanna give away the ending, but Aquaman may not see the other side of “Ocean Death Song.”) 7.5/10 (Lorraine Carpenter)
SERGE GAINSBOURG
Aux armes et cætera (Mercury/Universal)
This is a whole lot more than simply a reissue of dirty uncle Serge’s late-period dalliance with roots reggae. Even on its own, 1979’s Aux armes et cætera is a tasty platter, showcasing Gainsbourg’s sleazy but clever ruminations en français, backed by the honeyed voices of Bob Marley’s I-Threes, over sweet jams by Sly & Robbie’s Revolutionaries (sporting some of reggae’s top players of the time). This three-in-one edition’s second disc, though, tacks on dub versions of “Lola Rastaquouère,” “Brigade des stups,” the yummy title track and all the rest by Soljie Hamilton, and then vocal DJ versions by the likes of Big Youth and King Stitt. Cheers to producer Bruno Blum for a thorough and smartly assembled package. 8.5/10 (Rupert Bottenberg)
KRS-ONE
Kristyles (Koch)
It’s not hard for me to say that KRS hasn’t come with a consummate banger in years. Anyone who knows the power of this legendary MC’s words at their best has probably been disappointed with his last string of records like the rest of us. Nobody says it like KRS, but when KRS says it over and over again, even he gets a little preachy and repetitive. Noticeably missing from the last three KRS-One albums including this one has been the strong, consistent production that always fortifies the words of the MC. Here, Kris opts for a couple joints from the Beatminerz and DJ Revolution, but leaves most of it up to Tine Tim and the Ghetto Pros. You’ll find yourself singing along with “Gunnen’ Em Down” and “Underground” but ultimately you’ll be asking yourself just what KRS was thinking on tracks like “What Else Happened.” Nice, but no cigar. 7/10 (Scott C)
BUMPY KNUCKLES
Konexion (Rapster/BBE/Fusion III)
While brash, bull-headed MC Freddie Foxx has been around for years, first appearing with Queen Latifah and the Flavor Unit and later with the Gangstarr Foundation, he’s always been a bit of a lone wolf, quick to rundown the shortcomings of wack MCs everywhere. Konexion was a surprise for me, both in terms of a second solo LP for Foxx and because it came out on BBE, a label with a good record of quality releases. With the help of a couple throwaway beats from Primo, one from Clark Kent, and too many from Freddie himself under the guise of Hidden Agenda, this record houses the angry, no-nonsense rhetoric that FF does in his sleep. Who knows how he managed to produce 90 per cent of his own record, unless of course BBE was scared to catch a beating if they said no. I love you, Freddie, but two songs out of 18 does not an album make. 6/10 (Scott C)
BEYONCÉ
Dangerously in Love (Sony)
Finally, after Michelle, Kelly and even baby sis Solange all released solo sets, DC’s version of Diana Ross is ready for her close-up. No doubt a lot was riding on this one, so the DC machine pulled out all the stops: top-notch production and a bounty of guests including Sean Paul, Missy, Luther and undercover lover Jay-Z, appearing on the breakout summer jam “Crazy in Love” and equally infectious “That’s How You Like It.” Though high energy tracks like “Naughty Girl” will get the attention, it’s the subtler cuts—“Be With You,” “Me, Myself & I”—that show Beyoncé’s real potential for stardom. 7.5/10 (Gerard Dee)
SI BEGG
Director’s Cut (Novamute/Fusion III)
After his experimental plunderphonic effort as Cabbage Boy, his nu-school breaks release as Buckfunk 3000 and his Mission Statement album as SI Futures, U.K. producer Si Begg comes through with the first album under his own name. While the variety of styles represented on Director’s Cut might put some people off (he moves from tech-house to electro to post-rock to 2-step to hip hop to progressive to breaks), the quality of each track is impressive. But it’s Si Begg’s ability to combine a sense of humour and fun with highly developed production skills that sets him apart from a lot of other so-called IDM producers. While not every cut is a winner, several (like the bumping U.K. garage track “Buss”) are essential dancefloor destroyers while others (like the glitched-out ambient closer “Time”) are just great listens. 7/10 (Raf Katigbak)
TESTAROSA
“Pescara Mare” 12” (Saboteur)
Some of you may remember Montreal’s Saboteur Records from that amazing Kenneth Graham they put out a while back. Some people also probably wondered, where the heck did they go? Well, after a year on the down-low, Montreal tech-house label Saboteur is back in full swing. On this tasty 12-inch, label owner and DJ Leo Cruz and production partner Tony Roma have cooked up a sumptuous slice of percussive techno. Slated for big room play, side A is driving and moody with tribal chant samples and deep luscious chords. On the flip, snippets of female vocals are laid over a bed of driving percussion and rich synth pads with a breakdown and build-up at just the right spots. If this release is any indication of the things to come, it looks like Saboteur is back in bidness in a big way. 8/10 (Raf Katigbak)
TRIBALISTAS
self-titled (Phonomotor/EMI)
Three names that people following the MPB (modern Brazilian pop) scene will immediately recognize are nutty Bahian Carlinhos Brown, mainstream popper turned experimental noodler Arnaldo Antunes and the wonderful Marisa Monte. Pretty understated for a supergroup project, Tribalistas sees the trio working together on rich, balmy, acoustic campfire jams spiced up with some subtly wonky production, as well as a few gentle and introspective ballads. The focus is on the gorgeous and nuanced vocals of Antunes and especially Monte’s earthy sexiness, though Brown’s Beatles-on-the-beach sensibility, if not his percussive business, shines through. 7.5/10 (Rupert Bottenberg)
VARIOUS
Flowers in the Wildwood: Women in Early Country Music (Trikont/Triage)
Long before Patsy Cline and Loretta Lynn, women like Patsy Montana and members of the Carter Family paved the way down country music’s dirt roads. This German label has compiled an amazing array of pre-WW2 recordings that has this all-cowgirl roster riding on top. All of C&W’s lyrical staples, especially heartbreak, are here, but the most interesting songs are those where these ladies are celebrating their independence. Case in point, Roba Stanley’s “Single Life” from 1925, where she croons “I love the single life/no man can control me.” The yodelling in the Dezurik Sisters’ “I Left Her Standing There” is mindblowing and could make even Mike Patton’s vocal gymnastics seem pedestrian. The best country vocals that ever sported a gingham dress. 8.5/10 (Johnson Cummins)
Mini CD Reviews
IRNVING Good Morning Beautiful (Eenie Meenie) The sound of five heads knocking in a Twister collapse, or indie rock taking a pop injection from Dr. Roberts. 8 (LC) At Casa del Popolo, Wed., July 16
PROPHET OF SOUL “2 Minute Girl” (Public Transit) Yet another song that proves all you need is two minutes to make your point. 8 (SC)
THE SWORDS Project Entertainment Is Over If You Want It (Arena Rock) Pretty and precise rock possessed by echoes from an imagined wasteland. 7.5 (LC) With Nina Nastasia at Casa del Popolo, Thurs., July 10, 9pm, $10
DJ DEEON Ghetto Fabulous EP (Pro-Jex) Booty fans know how hard it is to find good, jackin’ Chicago booty records in this city, so run out and grab this one… now! 7.5 (RK)
VARIOUS Pop à Paris: Psyché-Rock et Minijupes (Universal) Two CDs of Brigitte, Serge, France, Nino et al., closing on the church bells and electro-noise of les Yper-Sound’s freaky, hard-to-find “Psyché Rock.” 7.5 (RB)
NONE MORE BLACK File Under Black (Fat Wreck) Oh my God, Fat actually released an honest to goodness punk record that isn’t half bad. Pinch me. 7 (JC)
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