Review: Cowboy Junkies: Trinity Revisited

My Cowboy Junkies review can be found (click here) on treblezine.com


Cowboy Junkies
Trinity Revisited
Zöe-Rounder
2008

What is it about 1988's original Trinity Sessions that made an impression on a confused 17-year-old living in San Antonio? It spoke to the need as a misunderstood, wandering spirit searching for a connection with similar souls that could reflect and identify with that yearning that I was feeling inside. Listening to the Cowboy Junkies, it was if this band understood how I felt, being a loner and isolated in the world.

The Cowboy Junkies' Trinity Sessions made me feel less alone. Listening to Margo Timmins, the Canadian chanteuse, was like spending a night in a universe that's eternally dusk, where the stars of hope shine all day and night as she crooned the songs like "Blue Moon Revisited" sings your blues away. There was something about Margo's voice when she sang that reflected the endless yearning, which sent ripples straight through to my young stuttering heart. The song that first grabbed hold of me and shook me was the evocative cover Lou Reed's "Sweet Jane." But that was only the beginning. What kind of album stars off with an a cappella track? The kind of record that's recorded in two days at The Church of Holy Trinity in Toronto with one microphone like they did in the classic recordings in the 1950s.

The Junkies opened me up to a new world of true country standards like "I'm So Lonesome I Could Cry" and "Walking After Midnight" that I never heard as a scrawny bitter rebellious youth. I was intrigued. If it wasn't for Trinity Sessions I may never have begun my journey of appreciation for such artists as Johnny Cash, Willie Nelson, Patsy Cline and Hank Williams.

Trinity Sessions has that classic and timeless feel. If you close you eyes while listening to the album, you can picture yourself there inside the church that captures the sound of the Junkies, the reverberations still in the air, in your ears, capturing the once in a lifetime performance that has been immortalized in that memorable album. Instead of trying to recreate or re-record the album that made them famous, for the 20th anniversary, The Cowboy Junkies invited some of their famous friends to honor the memory of the Trinity Sessions with an intimate performance recorded in the spirit of the original album.

Trinity Revisited is the result of that amazing performance. Natalie Merchant, Vic Chestnutt and Ryan Adams along with multi-instrumentalist Jeff Bird came along to pay tribute to the seminal album that influenced their lives. The songs that I first fell in love with have this way of coming alive at The Church of Holy Trinity some twenty years later. The addition of Merchant, Adams and Chestnutt give a new sinisterly seductive, bluesy vibe that reflects the aching from the original sessions.

I hear Trinity Revisited as a tribute to the day when the original sessions came into fruition. The opening number "Mining for Gold" soars just like it did in 1988 with Margo's beautiful a cappella voice letting us inside the aura of this atmospheric album. I believe "Mining for Gold" is about searching for love, which I feel is a theme of the album. Trinity is a solitary journey, a search for love through darkness with Margo and the Cowboy Junkies as our guide.

Natalie Merchant now shares vocal duties with Margo on "Misguided Angel" one of my favorite songs on the album. The song is about a tragic romantic trying to convince her family and friends her imperfect lover is the love of her life. I think it's more like she's trying to once again convince herself that this lover is right one. By the end of the song, Ryan and Vic add their soulful backing vocals to "Angel."

The melancholy classic "Blue Moon Revisited (Song for Elvis)" finds Margo trading heart aching vocals with Vic Chestnutt. If there was one surprise on this album, it's the appearance of Chestnutt himself. His vocals and acoustic strumming on "I'm So lonesome I Could Cry" are such that you can feel the hurt in his voice they add another honest layer of essence and depth to these intimate recordings.

Ryan Adams is all over these recordings. He sings lead in the Southern gem "200 Miles." His guitar and vocals can be heard on "I Don't Get It" and especially "Sweet Jane," which has now become a 21st Century bluesy jam that would definitely make Lou Reed smile a grin of approval.

If you're a fan of the original Sessions, I recommend taking the trip back and revisiting the trinity that was at one time holy to me. Trinity Revisited comes with a documentary and live recording of the sessions so you can so how these sessions came back to life. So make the pilgrimage back to Trinity and sing along to these classic gems in a new light to The Cowboy Junkies' everlasting resurrection reflected in your ears and life for ages to come.

Adrian Ernesto Cepeda
02.26.2008

Review: Beck: Odelay (Deluxe Edition)

My Beck review can be found (click here) on treblezine.com


Beck
Odelay (Deluxe Edition)
Geffen
2008

Hearing the opening riffs of "Devil's Haircut" takes me back to time of my not so distant past. I remember staying late at this office in San Antonio, Texas, with a bunch of college compadres gathered together to work on our dream job, publishing our own magazine. Four of us Latino hombres in our mid-twenties, listening to Beck because it was the only artist we all could agree on. Two of the guys loved Prince and the rest of us loved alternative Brit Pop music. So we compromised by listening to Odelay over and over again, Beck's album becoming the soundtrack to our dreams.

To put it in terms of another great, influential piece of art, what I love about Odelay is the same thing I adore about my favorite passage from On The Road:

Guitars tinkled. Terry and I hazed at the stars together and kissed. "Mañana," she said. "Everything'll be all right tomorrow, don't you think, Sal-honey, man?"

"Sure, baby, Mañana." It was always Mañana. For the next week that was all I heard - Mañana, a lovely word and one that probably means heaven.

Even if it was only one part of the book, at least it felt like Kerouac was honoring a part of me. It was the language, our language, and culture in my favorite book. This was something new to me, growing up in a largely Anglofied culture where our voices were rarely seen or heard in the mainstream of literature and popular culture. The late '90s was a time when multiculturalism was blossoming in mainstream society and culture, so reading Español in a classic book made me want to find my own voice on the page.

The same goes with Beck—just playing an album called Odelay, a hit during that year, was a huge victory for our culture. Beck was someone, like Kerouac, who appreciated our life and our language. It's amazing how this album was such an inspiration to us cuatro compadres trying to change the world one word at a time. We may have failed as our magazine went under but those dreams sparked on by those late nights still live on inside me and were lit by Beck's beats.

Odelay was an anomaly, part rock, part rap, part disco, part country and 1000% Beck. Beck Hansen grew up in Los Angeles and his upbringing en la ciudad de Los Angeles most certainly influenced the sound of Odelay. There are the rock riffs, disco beats and acoustic strummings and I can't forget Latin flavor that I've already mentioned. I believe that Beck was ahead of his era, a man with a creative multicultural mindset that was still years away. Music wasn't as integrated as it was now; Odelay is the sound of Beck tearing down the walls of music classification. In one song, "Hotwax" goes from electro beats to rap riffs with guitar licks, to a Latino flavored chorus mixed with the exotic samples from the Dust Brothers.

I can't say enough about the influence of the Dust Brothers on Odelay. These are the same guys that helped make Paul's Boutique a hip-hop classic for The Beastie Boys. They helped recreate Beck's personal version of Los Angeles by providing the soundscapes for Beck to sing and rap over. Listening to Odelay now, it's like taking a drive through Hollywood. Back when Odelay was first released the album sounded so universal but now I realize living in the west coast that it's idealized version of the city that Beck grew up in. It's amazing being in the city of "The New Pollution." You can feel the dirty streets, the eccentric people on those streets, the traffic, the smog and the sound from the gutter coming up clearly through the voice of this strange lyrical sage.

I, myself, in essence grew up with these songs. So listening to Odelay now is like reminiscing with an amigo about the old days. The classics are still as here but what I didn't recall was the laid back beauty in songs like "Ramshackle" which foreshadowed the greatness that Beck created in his future melancholy masterpiece Sea Change.

Odelay is the sound of an artist laying down the foundation of his future greatness by creating the vibes that you hear on the airwaves today. Beck always had one foot in past and the other one in sounds of mañana. Disc Two of the Deluxe Edition showcases the remixes, outtakes and B-sides of Beck's unconventional nature. Everything from U.N.K.L.E's 12 minute remix of "Where It's At" to the mariachi flavored version of "Jack Ass" that cleverly closes this two disc set.

We totally would have loved that Mariachi sound of "Burro" back at the office. I still remember all of us editing the newest issue of our magazine singing "Orale…Orale" along with Beck on our crappy old boombox stereo. It was like he was there, just passing through, with us in the room, rooting us on. At the time, Odelay was something so eclectic and strange. An album with a foreign titled that we knew the meaning of. Odelay was a gift to us, our voices, our culture and our sueños. Beck showed us that through words and our own distinct rhythms we could change the world and influence culture.

Each of us in our own way is continuing the tradition that was sparked in that one room over ten years ago. When I went to Amoeba con mi novia to pick up this deluxe edition of Odelay I was more than buying another CD, to me it was recapturing a moment in time that resonates on inside of me today. Beck's music will live on with the beats and breaths that live on past the page through those two turntables and a microphone—and beyond.

Adrian Ernesto Cepeda
02.19.2008

review: k.d. lang: watershed

My k.d. lang review can be found (click here) on treblezine.com



k.d.lang
watershed
nonesuch
2008

There is something about a singer, female vocalists to be precise, that have always touched and influenced me in my life. Maybe it was the fact that I was never really popular in the dating scene, and the female voice I heard in song, in my mind, was the closest I would hear to the musings of love in my neglected ears. Singers like Billie Holliday, Patti Smith, Tori Amos, Margo Timmins, P.J. Harvey and Marianne Faithfull, with their sultry croons, would relieve the pain in my naïve heart. It was in my many times of need throughout my young life that when I needed some healing, with a press of a button, a female chanteuse would appear in my headphones to sing my worries away.

I know I am not alone when I am thankful for singers like k.d. lang. Vocalists who share the gift of mending with their soulful voices appear from afar when we need them most. k.d. lang has been lighting our hearts with her timeless voice since the mid-eighties. lang grew up in Edmonton, Canada, idolizing famed country singer Patsy Cline. After a debut album steeped in Nashville tradition k.d. found salvation in a breakthrough hit—a duet in with the late great Roy Orbison on "Crying." That version of "Crying" was one of those songs that I would play after another misstep in dance of love. Whenever I failed in romance after falling for someone, I would play "Crying." Hearing k.d. Lang `s voice, so pure and strong, duet with Roy Oribson gave me faith in love. No matter how down and out I felt, "Crying" would give me hope.

Soon after, lang moved up into the realm of the sultriest torch singers. It wasn't until 1992 that k.d. found international success with the sensational Ingénue. Led by the worldwide smash "Constant Craving" and top ten salsa tinged single "Miss Châtelaine," lang was flying high. Although she would never again reach the heights of Ingénue, that success opened up doors for her artistically. She appeared on MTV Unplugged to perform her hits, including one of my favorites, the rarely heard treasure "Barefoot." She also was spotted duetting with Tony Bennett on his very own comeback Unlpugged special. This led to further successful collaboration album What a Wonderful World in 2002.

Throughout, k.d. has never wavered in recording a plethora of critically acclaimed albums and touring sold out shows across the globe. She continued recording some of my favorite songs, including late night sultry ballad "You're Okay," from the underrated All You Can Eat. I can't forget Lang's lush cover of Jane Siberry's "Haint it Funny" on 1997's smoke themed classic Drag, also featured in Pedro Almodavor's Talk to Her. Finally off of her 2001 Live from Request special is my favorite—her short but sweet cover of "Fever." I can't forget her perfect rendition of The Beatles' "Golden Slumbers/The End" on the soundtrack to Happy Feet. The best thing about this movie is this rarely heard number, a perfect tribute to the Fab Four with the grace and honesty as only k.d. can deliver.

What do all of those songs I mentioned above have in common? They all highlight the unique vocal stylings of one k.d. lang. Her voice is the focal point on all of those songs, from her aching wail on "Barefoot" to the low key sultry vocal style of "Hain't it Funny." The music accompanies her voice without overshadowing it. There is nothing worse than session musicians washing out the beautiful voice in my favorite modern day torch song singer. I have said this over and over again—enough with the multi-track productions, I am still waiting for the stripped down album where k.d.'s voice reigns supreme.

This brings us to Watershed. Is this the album for which I have been asking for years now? Not exactly, but with lang producing she makes sure that her vocals are the shining power source on these superb songs, her best and most complete album since Ingénue. From the opening notes and the lyrics "She arrives like autumn in a rainstorm," The voice that I have adored for so many years arrives from beyond to light the way. There's a country vibe, with the steel guitar and lush orchestration in the background, but k.d.'s voice of hope and reason lifts us in the blooming opening number "I Dream of Spring."

What a beginning! The dreamlike wonder of "Je Fais La Planche" follows with the "buoyancy of belief." There is something that I notice about k.d.'s songwriting immediately in Watershed. Unlike some torch song vocalists, lang writes most of her songs, and there's a sense of optimism throughout. Even if there are images of blue, jealousy, fear and pain just about all the songs end in a positive light. "Coming Home" starts off with clever, bouncy strings as k.d. sings "oh sweet sorrow/ let's write the book tomorrow." From the start she's taking the words of a sad song, and in the spirit of Paul McCartney, she's instantly making it better. k.d. never languishes in pools of melancholy, she splashes over them; the hurt might get her wet but she knows that they are just stains that will dry. k.d. doesn't let the anguish inside of her songs weigh her down. So you, as a listener, follow her lead home.

Just in time for the most romantic day of the year is "Once in a While," the perfect ode to the one in your heart. "I'll drive you crazy, baby/ once in a while." I love the fact that k.d. sings about the imperfections of love. Most of us enter romance with unbreakable goggles but "Once in a While" helps us to realize that there will be times that our loved ones will drive us a little mad. It's natural, its human nature and all the part of being in love. k.d. follows this theme of realistic love on "Thread," one of the many highlights of Watershed. "Thread" is one of the few numbers that starts off with a stripped acoustic guitar and follows with a flourishing orchestra strings that flow in and out of the mix without overpowering k.d.'s magnificent voice.

k.d. must have been listening to Mezzanine, because "Close Your Eyes" sounds very Massive Attack-esque. I love the slight trip hop-esque vibe that starts at the beginning. It's not as dark as Massive Attack, for this is a k.d. lang song, but "Close Your Eyes" is seductive number with a beating bassline that would impress Robert Del Naja and Daddy G.

Listen for the loungey title track and the stand-up bass flavored ode to everyone's favorite day of the week on "Sunday." Watershed ends with a stripped down number, "Jealous Dog." Similar to Nick Drake's "Black Eyed Dog," but without the heavy themes of death, k.d. sings about searching for faith through understanding. With just a banjo and a piano as her guide, k.d. lang leaves us looking for meaning through eyes of a jealous dog.

What a way to end this beautiful and moving album. Watershed is something that I myself have been looking to find. You see, I have been in mourning. With the passing of my late Abuelito I went searching for some peace and comfort in a singer. I went through my collection and nothing could cure the pain for the loss I was feeling inside. Last night I discovered the calming beauty of Watershed, which cured my sadness in the voice of one k.d. Lang.

Adrian Ernesto Cepeda
02.12.2008

Review: Samantha Tobey: Samantha Tobey

My Samantha Tobey review can be found (click here) on treblezine.com



Samantha Tobey
Samantha Tobey
Heavy Folk Music
2007

Every once in a blue moon you discover a song, a song that soars, recurring lyrically and musically in your subconscious. "Eleven Shades of Red" is that song for me right now and L.A.'s very own Samantha Tobey is the artist to inspire the spark of a song that has been burning inside of me since I received a copy of her moving debut EP.

Now, I have been accused in the not so distant past of closing myself off to new music. A few years back, Bob Dylan gave an interview in Rolling Stone where he stated, "I don't know anybody who's made a record that sounds decent in the past twenty years, really…" and talking about the industry's complaint about downloading, "Well, why not? It ain't worth nothing anyway." At that time, I really agreed with him, compared to the music from past even looking back at the '90s, the majority of the bands sans Radiohead and a handful of others had been largely forgettable.

The past year I have been falling in love with music again and discovering some new talent that would even make Bob Dylan smile. The sounds that I have been finding have proven Dylan's quote to be horribly wrong. All you have to do is read your daily installment of Treble (shameless pat on the back), or visit one of my favorite sites, The Hype Machine, and you will see that new music is alive and beating stronger by the minute.

On a local level, there seems to be a modern resurgence in the Los Angeles music scene, and Samantha Tobey is on the cusp of being the breakout artist of 2008. And this is all thanks to a show that has been largely seen online, that being Quarterlife. My newest obsession, Quarterlife was created by Marshall Herskovitz and Edward Zwick creators of three of my favorite shows Thirtysomething, My So-Called Life and Once and Again. Quarterlife follows the life of a group of twentysomething friends trying to find their space in this internet world of missed communications. The episode where I first heard Samantha's song was part two of the pilot. At the end of the episode, Lisa the bartender stands up and sings "Eleven Shades of Red" in front of her bar and friends. It's a huge scene for Lisa, this is the episode where she breaks out of her shell and shows her true self in the guise of Tobey's song.

The thing I love about "Eleven Shades of Red" is Tobey's universal message of trying to connect, which is why it's a perfect song for Quarterlife. She sings "I wrote this song for you/ I don't even know your name." From the beginning, Samantha brings us in as if she's singing directly to us. She personalizes the song by saying that she wrote the song for all of us. I love the lyrics, "I talk to myself/ stop stuttering/ you bring all this on yourself." This is me, the stuttering recluse, she someone connected to how it feels to be in my uncomfortable skin when I have trouble speaking and become a stuttering recluse.

Everyone knows that I am a sucker for harmonies and Tobey delivers beautifully throughout her self titled EP. Listen to the harmonies on the elegant acoustic number "Running," the perfect introduction to this artist, and produced magnificently at that. David Passerman, Timothy Hutton, Kevin Binova and Spanjew keep the focus on Tobey's majestic voice throughout by not overpowering it with too much studio trickery. They enhance her voice by layering just the right instrumentation throughout her dynamic EP.

There seems to be a yearning throughout the lyrics of Tobey's debut EP. You can hear the blissful power on songs like "12 O'clock." Tobey's song are neither too light nor too dark, she has the perfect blend of beautiful melancholy, especially on memorable closing track "Mumbling," which is impressive for such a new and up and coming artist. Keep your eye on episodes of Quarterlife on NBC and listen for Samantha Tobey. When the show finally breaks, everyone, everywhere will know her name. You read it here first.

Adrian Ernesto Cepeda
01.30.2008

Review: Sarabeth Tucek: Sarabeth Tucek

My Sarabeth Tucek review can be found (click here) on treblezine.com


Sarabeth Tucek
Sarabeth Tucek
Echo Records
2007

"Here's something for you to put down…"

These are the first lyrics you hear from the enigmatic L.A. singer/songwriter Sarabeth Tucek. What a song that opening track, a memorable one it is, and it is one that I had heard years before when she was a member of the Brian Jonestown Massacre. A few years back when she was working with ever-reclusive genius Anton Newcombe, Sarabeth collaborated with him on the track "Seer." I'll never forget the first time I heard "Seer," the lyrics "I've gone and left you a song" were shared with me by a former flame after she left. It's one hell of a song to give to a former love and to this day I'm grateful that she did. She knew how much I loved Brian Jonestown Massacre and adored the female voice.

When I put in Sarabeth's debut disc, and those first lyrics came on, I knew that song but in a different light. The song that I once knew as "Seer" has been stripped down, or de-Anton-ized if you will, and now called "Something For You." I prefer this version without the echo and effects. You can really hear Sarabeth's Nico-esque voice come through in this mix.

Nico is the perfect jumping off point when trying to pin point the sound of Sarabeth's voice. But Sarabeth goes much deeper than the former Velvet Underground vocalist; I like to think her vocals are a mixture of Nico and 10,000 Maniacs' Natalie Merchant. She's the perfect chanteuse that not many people have had the pleasure of hearing, though she has been fortunate enough to open for the likes of Bob Dylan, Black Rebel Motorcycle Club and Ray Lamontagne.

Speaking of Ray Lamontagne, his producer Ethan Johns, known for his work with Ryan Adams, along with Kings of Leon Luther Russell, helmed production duties on Sarabeth Tucek. Her debut CD is anything but your normal singer/songwriter acoustic album. Johns and Russell compliment Tucek's exceptional voice with just the right instrumentation. Just check out "Holy Smoke." Good choice to layer the backing track with feed-backing and rhythmic guitars. It sounds kind of like an amalgamation of Ryan Adams and The Velvet Underground with Sarabeth crooning "God said…I gave you a song…for you to keep for your own." Johns and Russell's riffs match the lyrical intensity of Tucek's fascinating prose.

"Hey You" is a sultry and smoky number that would sound perfect at a Jazz club. I love the Johns pedal steel guitar wails complementing Tucek's sexy vocal as she sings to a former flame. This seems to be the overall theme of Sarabeth Tucek; the songs sound like lyrical odes to an intense love that has since perished. The organ on "Come Back, Balloon" sounds like one you would hear at a procession at a church symbolizing the end of an affair. Then the banjo and harmonica comes out of nowhere and turns "Come Back, Balloon" into a beautiful alt-country lament over someone she left behind.

There's a lot of depth in Tucek's vocal that carry most of the songs into the realm of timelessness, and I do like the simplicity in some of the arrangements, like in the beautiful "Nightlight," especially the intimate piano keys playing in the background as a perfect accompaniment to Tucek's amazing lyrics. One of my favorite songs has to be "Hot Tears." It starts off with an acoustic guitar strumming along to Sarabeth's heart aching vocal and then turns into an electric number, when she sings "Then you'll lay me down/ don't let anyone come around," as those killer guitar riffs come in like a reigning flashback from a movie you want to revisit again.

Sarabeth Tucek's debut CD is more than a painful ode to heartbreak; I liken her songs to a soundtracked homage to love, a love that most of us yearn to experience. There's beauty, hope and pain layered through out this emotional and exceptional album. Sarabeth Tucek is a vocalist with a classic vibe and post-modern sound that needs to be experienced. When she sings "Guess you've always been the one…when there's no one left to call/ I'm blowing kisses as I fall," you long to be the one who's catching those imaginary kisses.

Adrian Ernesto Cepeda
01.29.2008

Review: Cat Power: Jukebox

My Cat Power review can be found (click here) on treblezine.com


Cat Power
Jukebox
Matador Records
2008

"Start spreading the news…" this is the year of Cat Power. Chan Marshall has been on crooning her solitary heart in the underground since the mid-`90s. But it wasn't until 2006's The Greatest when the music world finally began to take notice of this largely unheralded chanteuse. The Greatest may have been Chan Marshall's introduction into the mainstream but Jukebox is her breakthrough. Marshall's sultry southern belle vocals and the Dirty Delta Blues Band dynamic rhythms shine bright in this stellar tribute album.

This is Chan's album. Her voice is the link that grabs you. You can't help but fall in love with this beauty while you listen to Jukebox. It sounds like she's serenading you especially on the Latin flavored bonus track, the Roberta Flack cover of "Angelitos Negros." Hearing Chan sing in Español sent shivers through me. I played Jukebox in my CD player, walking home from the indie record store where I purchased said album, and heard Marshall's vocals floating beautifully in my ears. I believe that this is the key for any everlasting artist—how the album sounds away from the friendly confines of your room. As I walked I felt like Chan and her angelic voice was right there with me, the soundtrack to my world. That is the mark of true greatness, in which a singer can take songs, and universally make them speak and sing for her audience, regardless of sex, color or creed. Very few artists can attest to what Cat Power has successfully achieved with Jukebox.

I, myself, love me some covers. But it's difficult to record a memorable cover song. Cat Power has never had trouble in that area. The mark of a truly brilliant cover song is one in which the artist pays homage to the original singer while making it her own, and Chan Marshall has been doing this throughout her evolving career. But there's something extra on Jukebox that surpasses any of those covers we may have adored before, and that is the addition of the Dirty Delta Blues Band.

The Dirty Delta Blues Band features Dirty Three drummer Jim White, Delta 72 piano and organist Gregg Foreman, Lizard Music bassist Erik Paparazzi, and Blues Explosion guitarist Judah Bauer. Bauer is the other shining star of Jukebox. His bluesy guitar riffs on "Ramblin (Wo)man" lift the cover into unforgettable territory.

Highlights? Wow, too many to name. The just mentioned "Ramblin (Wo)man" is a good start, though. I love the way that Marshall takes Hank Williams' classic and gives it her own spin. By changing the sex, it turns this song into the lament of someone who's trapped in her drifting ways. Chan's vocal makes you emphasize for her fleeting emotions and continue falling for this woman who will undoubtedly break our aching Corazon. Chan also covers herself with an updated version of "Metal Heart" which soars with the Dirty Delta Blues Band backing her up. These rambling musicians are the best thing that may have ever happened to her. They even found a way to amp up her own recordings with a power that lifts this Cat Power gem with an added brilliance that highlights the genius of this underrated songwriter.

I adore the largely acoustic "Silver Stallion," which shows Marshall stripped and seductive as ever, with Bauer's wailing guitar enhancing her sexy vocal. Speaking of, Marshall outdoes James Brown with an amazing rendition of "Lost Someone." You can hear the beauty and ache in Chan's voice as she calls for the one that she has lost with Bauer's guitar once again sending her to heights that only few singers have dreamed to discovering. But the one song that makes Jukebox the definitive classic has to be Cat Power's version of Bob Dylan's "I Believe in You." I had preferred Sinead O'Connor's take until I pressed play and hear Marshall and the Dirty Delta Blues Band's awesome rendition, with Bauer holding court with his addictive guitar riffs and White's killer back beats holding it up for Chan to take us home. And does she ever. Marshall does Bobby proud; I can imagine him smile when he eventually hears the next song, which is a definitive tribute to the Bard himself. You will believe me when you hear Marshall's original ode to Dylan simply called "Song to Bobby." A stunning number where Chan sings praise to The Bard, one of the many singers, that has helped shape her voice from a far.

It's also worth picking up the bonus disc, with five extra soon-to-be-classics including Chan's take on Nick Cave's "Breathless" and my favorite, Patsy Cline's heartbreaking jewel turned into aching acoustic epic "She's Got You."

Jukebox shows Chan Marshall honoring the artists and songwriters who influenced her unique and soulful voice. And what a homage it is—listen for the piano based beauty that is a definitive praise to Billie Holiday. Not only does Chan Marshall cover these songs, she takes them and makes them over with new arrangements that acknowledge the greatness of the original songs. They, like Cat Power, will live on eternally. Jukebox is the proof that Chan Marshall is here to sway our hearts with a voice that will live on soaring eternally inside of us. Cat Power has such a timeless presence that you will crave hearing this chanteuse serenading softly in your ears again and again.

Adrian Ernesto Cepeda
01.23.2008

Top 50 Albums of 2007: #1 - Radiohead - In Rainbows

My Radiohead year end review can be found (click here) on treblezine.com


Radiohead
In Rainbows
TBD Rceords

The most Romantic Album of the Year award belongs to none other to my favorite band Radiohead. Wait, how did this happen? From the opening notes we all can feel the sparks that sent shivers down our eagerly-awaiting spines—pure unadulterated brilliance to my ears. I love Colin's sultry bassline on "Nude." This must have been what Thom was talking about when he said Radiohead wanted to make music to have sex to. Yes, "Nude" is quite beautiful and sexy, especially Jonny's equally seductive guitar riffs that even Al Green and Marvin Gaye would love to sing over. And let's not forget Phil's tender touches on the drums. The kind of gentle beats that would make Massive Attack want to sample on their next album. The lushly arranged "All I Need" is a perfect lyrical equivalent to the sound of "Nude." Thom has never written about love and intimacy as he does In Rainbows. Like a Romeo in black jeans, Yorke sings for all of us the romantics singing about the infinite complexities of relationships coming to life as Radiohead brings "All I Need" to its exciting climax. You can feel the emotions coming loud and clearer than ever before especially in songs like "House of Cards," as Yorke sings, "I just wanna be your lover/ No matter how it ends/ No matter how it starts."

In Rainbows is also the first Radiohead album in ages where we can actually hear the soulful vocals of Thom Yorke throughout. Who would have thought after releasing the electronics heavy solo album The Eraser, Thom would release his most heartfelt sounding songs in quite some time. It's the little things on In Rainbows that stand out to me, like the way that Thom enunciates every syllable in songs like "15 Step," such as the way that he says "etcetera." Another fun fact: the beats on "Videotape" mirror the sped up ones in the opening track "15 Step?" If you put the album on repeat it runs like a full-circle dream, which you can relive again, like watching your favorite film go on and on forever. Could this be the reason why the album begins with the lyrics, "How come I end up where I started?" Think about it and play it on a loop and see if you hear what I hear.

So when did Radiohead become such lyrical and rhythmic romantics? Hard to say, but for a band that's been called "cold" and "indulgent," they sound more human than ever, connecting with the love and adoration that we all want to feel.

Adrian Ernesto Cepeda
12.17.2007

Top 50 Albums of 2007: # 41- Editors - An End has a Start

My Editors year end review can be found (click here) on treblezine.com


Editors
An End Has A Start
Kitchenware – Fader

With minimal airplay and the strength of their amazing debut album The Back Room, Editors became the Indie Darlings of 2005. They then returned this year with An End has A Start, which rivals The Bends as follow-up albums go, and puts them on the verge of being the next greatest band of the decade. So what exactly am I, and a legions of Editors fans, hearing that most of the music world is missing? An honest and beautiful darkness best displayed in the song "The Weight of the World." Beginning with triumphant drum beats, an echoing guitar riff signals the shadowy vocal by Tom Smith, "Every little of piece of your life will add up to one…will mean something to someone." More than mope rock, Editors have transcended the Joy Division and Interpol comparisons. Editors don't make music for the sake of sadness. I hear the optimism in singer Tom Smith's voice and the anticipation of enormous potential in band members Chris Urbanocwiz, Russell Leetch and Ed Lay's rhythmic brilliance, reaching for greatness with every beat and riff in their musical arsenal. I told an old friend that 2006 would be the year of Editors. I guess I just missed it by 365 days.

Adrian Ernesto Cepeda
12.17.2007

Review: The Libertines: Time for Heroes: The Best of

My Libertines review can be found (click here) on treblezine.com


The Libertines
Time for Heroes: The Best of
Rough Trade
2007

"Reissue/repackage…re-evaluate the songs…double pack with a photograph…with a tacky badge."

These immortal words by Morrissey on "Paint a Vulgar Picture" from The Smiths' last opus Strangeways, Here We Come have been an omen to the band and lead singer himself. Guilty of the crimes he had been seething about so eloquently in that infamous song. Morrissey, himself, is set to release yet another solo hits collection, his sixth compilation since the demise of his former group. The question I have to ask is why? Why is this necessary to subject such a bludgeoning to the fan base who's so devoted to you?

To be fair, Morrissey isn't the only one who's committed these acts against his legions of followers. Many artists are guilty of doing so, and with more annoying results. Even though I'm not a fan of such a practice, there are bands that justify releasing a "best of" by adding a track or two. But there's a fallacy to the act of adding new material to a hits compilation—those songs have never been heard before, what makes them worthy of being a "hit" or inclusion on a "best of" CD? I would love an artist to answer that question for me.

For now, my beloved Libertines get to hear it from yours truly. If Time For Heroes is truly a best of collection, what happened to "Music When the Lights go Out?" And, why no "Good Old Days," one of the most quintessential of Libertines tracks? Now boys, why are you doing this to us? I know that things are looking up for you but how about a little quality control over the release of your back catalogue recordings? Why would you try to swindle your fans with such a shoddy compilation? Why not add new or unearthed tracks? And don't even try to justify the release of Time for Heroes by saying that the addition of "May Day" from the I Get Along EP as an unreleased song. Nice try, but I am not buying it.

I know there has to be a rare track or two in the cans. The inclusion of the Bernard Butler produced tracks, including the re-recorded "Death in the Stairs," are lovely additions but not enough. Why not release some live tracks or some rarities like the acoustic X-Mas version of "Time for Heroes" from Jo Whiley's BBC show, where Pete sings "Carlos with his Santa Claus hat?" How about the official release of such classic gems as "Breck Road Lover" and "You're my Waterloo?"

I have loved The Libertines since the good old days; the brilliant music you have created has changed my life. Why not release a compilation worthy of your legacy of greatness? Here's hoping the next time you boys get it right. Until then, I won't hold my breath for a Libertines reunion, but I can at least eagerly await the next Dirty Pretty Things and Babyshambles releases.

Adrian Ernesto Cepeda
12.07.2007

Review: Bob Dylan: Dylan

My Dylan review can be found (click here) on treblezine.com



Bob Dylan
Dylan
Sony/Legacy
2007

I've been on quite a Dylan kick recently since the release of Todd Haynes' magnificent anti-biopic I'm Not There. I would love to say that I've been listening to The American Bard, Bob, all my life but that would be far from the truth. Just like Shakespeare seemed to me in my younger days, Dylan was the one singer that I had to grow to connect with. It took many years to appreciate the infinite complexities and simple beauties that make up the many ballads, epics and lyrical anthems that he has written and recorded throughout his memorable career. It was actually after hearing U2's much criticized cover of Dylan's "All Along the Watchtower" on Rattle and Hum which got me curious about The Bard. (Incidentally, Dylan plays on a few tracks with U2 including organ on "Hawkmoon 269" and he co-wrote and sings on "Love Rescue Me.")

The first Dylan discs that I ever bought were Biograph and The Bootleg Series Vol. 1-3 1961-91. But still it wasn't till I was living alone, out of my elements, in New Orleans when the words of The Bard finally began to make sense to me in my new surroundings. To this day, I remember hearing Dylan crooning the lyrics to "Love Sick" as I walked the French Quarter streets during my years as a solitary man. His voice resonated through me during my years as a starving artist. I came to appreciate the poet and the singer whom for me was once a stranger in an alternate universe. It's amazing when I finally connected with his music and words. I was reborn, everything changed to me. I looked at life as two distinct periods: before and after Dylan. Before I was blind and confused, and after my rebirth I was awake, aware with a sense of poetic amazement that was missing from my past life.

Yes, this is how much Dylan influenced me, as much as Henry Miller, Mark Twain, Hunter S. Thompson and Shakespeare himself inspired me in my ever growing ways as a writer in residence whilst living in New Orleans. I would disappear weeks on end, writing in my one bedroom Uptown Apartment with Dylan's voice echoing from my stereo as my fingers hit the keyboard. If my friends heard Dylan was singing from my apartment, chances are I was on my computer, and they knew not to bother me.

Times may have changed but my devotion to Dylan continued throughout my many moves around these past few years. The release of this new compilation, Dylan, will bring a new generation of wide-eared, earnest music listeners to the world of this musical marvel. You will find his words beautifully strange at first but listen, really, let him reflect his timeless voice through out you. You will hear shades of your own life, loves, fears, hopes and dreams throughout many of these tracks. The world you always wanted to live in. The girl you always wanted to fall in love with. All of this and more come to life when you press play.

Listening to Dylan is more than to hear a CD. It's an experience worthy of the Springsteen quote—You'll learn more in a three-minute record than you'll ever learn in school. You can bet The Boss was definitely talking about this timeless songwriter. Dylan is the perfect introduction to the School of Bob. This collection is separated in three CDs. The first showcases the Early Years, from 1962's "Song to Woody (Guthrie)" to 1967's "All Along the Watchtower." Disc Two focuses on the seventies, when Dylan's popularity hit its pinnacle from 1969's "Lay Lady Lay" all the way to 1985's "Not Dark Yet." The last volume in this superb collection is the Dylan of late from 1986's epic "Brownsville Girl" to 2006's "When the Deal Goes Down."

Is this the best collection available? Arguably, yes. Although I do tend to favor Biograph and the first Bootleg Series collection, Dylan is the best because of the mastering and the sequencing of the songs. Selected to stir and move you while reflecting on this amazing 3 CD set, you will discover why he is America's Poet Laureate of Rock. Throughout his many incarnations of folk singer, rock, alt-country and 21st Century rocker, Dylan has remained an artist looking forward, relented in searching for his muses through his many voices the results in this amazing collection are pure poetic gold.

So before or after watching I'm Not There, I recommend investing in this must-have document of The American Bard. Dylan will take you to places you have longed to discover inside of you. He sings for all of us in a voice sometimes not so easy to comprehend, but you will understand his message of life, love, faith and despair. Sing along and you will feel the resurrection shaking you into a personal state that reflects truth, beauty and hope that's pure Bob Dylan. Through the shadows of the past in a glimpse of the future that sounds like nothing before and after, you will be changed for the better. Believe Me—how does it feel?

Adrian Ernesto Cepeda
12.05.2007

Review: Soulsavers: It's Not How Far You Fall, It's Where You Land

My Soulsavers review can be found (click here) on treblezine.com



Soulsavers
It's Not How Far You Fall, It's Where You Land
Columbia-Red Ink
2007

What do you get when you combined the electronic eccentricities of Death in Vegas, mixed with atmospheric lush keys of Moby and the darkened gospel of one Mark Lanegan? The result is the Soulsavers. The perfect name for this band and since we are coming up to the end of the year, one of the best and unheard and soon to be underground classics of 2007.

Personally speaking, It's not How Far You Fall, It's where you Land, is the theme of where I was at the beginning of the year. Where were you in January, Soulsavers? Oh well, better late than never. This album is like the soundtrack to a 21st Century resurrection. I've already seen the light and come out of the other side glowing, stronger and better than ever. It's not How Far You Fall is for when you're ready to get up off the ground and peel off those scars in your new and unfamiliar skin, feel the revival in your bones and in your veins.

Speaking of which, "Revival" is the opening cut of the album. It's impossible not to feel inspired by this soulful number. It's like a Southern Gothic soul number with Mark Lanegan crooning "Wanna see revival tonight/Lord, it needs to be revival," backed by gospel singers that you would find singing to the heavens at any church in New Orleans. I was moved throughout "Revival" especially by the soulful organ keys; I felt like shouting, "I was blind now I can see!"

Soulsavers don't leave you hanging at the gates, no sir—the journey with Mark Lanegan as your guide continues with the funky and faithful "The Ghost of You and Me." This song feels like it's haunted, with twisted sax solos and distinctive backing beats that will have your heart racing, ready for more lyrical sermons.

I've always said that Mark Lanegan is the Post Modern Johnny Cash. He's doesn't just dress in black, though—Lanegan is The Man of Midnight. He is darkness incarnate with the light of devotion burning within him. It's this dichotomy of faith and fire that I have always respected from this timeless vocalist. Without his voracious vocals, Soulsavers would be soulless and empty. Lanegan continues his search for salvation on "Paper Money." He sings "Don't you ever leave me baby/ I believe that you can save me/ Heaven, just a taste/ Heaven's so far away." It's as if Lanegan's seeking for his savior outside the holy halls of a church inside his lovers arms. He believes in something, someone out there, rather than a deity it sounds like this soul singer would rather kneel down for just a touch of love.

"Are those halos in your hair/ or diamonds shining there/without a hope without a prayer?" Lanegan sings continuing his search for the one in "The Kingdom of Rain." In this largely acoustic number, Mark's deep vocals are showcased like a loner crooning to the stars: "Before I go I'm hanging on a cross on the nail/I hung on for you in there." He echoes throughout this lament as an ode to the love he's dying to find. Listen for the Neil Young cover of "Through My Sails," a duet with The Sultan of Sorrow, Bonnie "Prince" Billy. This beautiful number is one of the album's staples carries on journey you can feel Lanegan and Billy reaching new heights as they croon together, "Still glaring from the city lights/ into paradise I soared/ unable to come down."

I've always said that Mark Lanegan is the Post Modern Johnny Cash. He's doesn't just dress in black, though—Lanegan is The Man of Midnight. He is darkness incarnate with the light of devotion burning within him. It's this dichotomy of faith and fire that I have always respected from this timeless vocalist. Without his voracious vocals, Soulsavers would be soulless and empty. Lanegan continues his search for salvation on "Paper Money." He sings "Don't you ever leave me baby/ I believe that you can save me/ Heaven, just a taste/ Heaven's so far away." It's as if Lanegan's seeking for his savior outside the holy halls of a church inside his lovers arms. He believes in something, someone out there, rather than a deity it sounds like this soul singer would rather kneel down for just a touch of love.

"Are those halos in your hair/ or diamonds shining there/without a hope without a prayer?" Lanegan sings continuing his search for the one in "The Kingdom of Rain." In this largely acoustic number, Mark's deep vocals are showcased like a loner crooning to the stars: "Before I go I'm hanging on a cross on the nail/I hung on for you in there." He echoes throughout this lament as an ode to the love he's dying to find. Listen for the Neil Young cover of "Through My Sails," a duet with The Sultan of Sorrow, Bonnie "Prince" Billy. This beautiful number is one of the album's staples carries on journey you can feel Lanegan and Billy reaching new heights as they croon together, "Still glaring from the city lights/ into paradise I soared/ unable to come down."

And even though you won't want this trip to end, Soulsavers have saved the best for the finale—a gospel tinged cover of Rolling Stones "No Expectations." The end of the road never sounded this hopefully, beautiful and free. "Our love is like our music/ its here, and then it's gone" are the words that perfectly speak to the feeling I had at the conclusion of It's not How Far You Fall, It's where you Land. You're left dying to re-experience this righteous adventure again.

Though the name of the band is Soulsavers, the star of this show is definitely Mark Lanegan. He's a midnight singer whose voice is like a cigarette burning brightly in the dark. We follow his smoky flavor with songs like hymns, darkened with doubt but still shining with the hope of fulfillment. In every breath he croons for all of us who have fallen and are ready to continue our fight of survival. Lanegan's voice inspires you to believe in yourself and to sing the songs of your own salvation louder than ever before.

Adrian Ernesto Cepeda
12.04.2007

Column: Don't Think Twice It's Alright : Dylan Cover Songs

My Don't Think Twice It's Alright column can be found (click here) on treblezine.com



Don't Think Twice It's Alright

With the release of the soundtrack to Todd Haynes' Dylan biopic I'm Not There, I took it upon myself to go through the archives to find my favorite Bob Dylan covers that I feel are a fitting homage to our greatest living singer/songwriter.

1. Edie Brickell and the New Bohemians – "A Hard Rain's Gonna Fall."

From the soundtrack of Oliver Stone's Born of the Forth of July comes this perfect rendition of the Dylan classic. It's original, vibrant and Edie's vocal makes it her own. I actually prefer this to the original.


2. Sophie Zelmani – "Most of the Time"

This song, from a Swedish singer/songwriter who has been compared to Bob, appeared in Masked and Anonymous, which also starred Dylan. It feels like one of her own songs, the way she almost whispers the vocal as if she's reciting a letter in song. I love the echoing guitar solo; it's like a movie flashback coming to life.

3. Johnny Marr – "Don't Think Twice it's Alright."

I was never fan of this ex-Smiths founder and guitarist's solo output, mainly because I could never get past his awkward lyrics. But this version with Marr's trademark harmonica is an acoustic treat that Smiths fans need to seek out.

4. George Harrison – "Mama You've been on my Mind"

From the tumultuous and often bootlegged Get Back/Let It Be Sessions comes this acoustic gem captured on tape by Dylan's pal George Harrison. So intimate in nature this cover is worthy of unearthing by all Fab Fans everywhere.

5. Polly Jean Harvey – "Highway 61 Revisited"

PJ rocks this version from her Albini-produced Rid of Me album, enunciating every syllable of Dylan's lyrics while laying down killer riffs on this classic. Harvey captures the mystical aspect of Dylan's words while giving it the PJ power stroke that we all know and adore.

6. Nick Cave and the Bad Seeds - "Death is Not the End"

Polly Jean makes an appearance along with Kylie Minogue, Anita Lane and The Pogues' Shane McGowan on this all-star tribute. This rarely remembered yet stirring Dylan number makes for the perfect finale to Cave's Murder Ballads album. Play it and sing along with your drunken barflies during last call at your favorite pub.

7. Cassandra Wilson – "Shelter from the Storm"

The most original of all the covers is this "shelter" from Southern Jazz vocalist Wilson. A perfect blend of Deep South acoustic and her breathy midnight layered vocal.

8. Norah Jones – "I'll Be Your Baby Tonight"

America's favorite torch song piano vocalist brings to life this rare cover, crooning over her delicate piano keys. Play this song on your next dinner date with candles and wine to set the mood.

9. Jeff Buckley – "I Shall Be Released"

Buckley performs this version, my favorite of his covers, over the phone on WFMU circa 1992. Even through the telephone, the magic of Buckley's voice comes through as he captures the essence of Dylan's words in this most incredible rendition of this classic.

10. M. Ward with Beth Orton- "Buckets of Rain"

One of my favorite singers, M. Ward, in an aching duet with Orton, brings this Dylan classic to light in this tender yet live setting.

Honorable Mentions:

Jimi Hendrix - "All Along the Watchtower"

Of course, the version by which all Dylan covers are measured. This rendition was so original that after hearing Hendrix's version Dylan has continuously played Jimi's arrangement of his song. This will undoubtedly go down as one the best cover songs ever.

The Rolling Stones – "Like a Rolling Stone"

The Stones finally covered the song which Dylan name checked their band, more a tribute to a Muddy Waters track than the band itself. It's fitting to hear Mick Jagger sing Dylan's words "How does it feel to be on your own…like a Rolling Stone." Art imitates life, indeed.

M.Ward. Conor Oberst and Jim James - "Girl from the New Country"

This rare live cut from the Monsters of Folk tour featuring Ward, Mr. Bright Eyes and My Morning Jacket's James is, wait for it...legendary. Hearing this eclectic trio trade Dylan lyrics is a once in a lifetime event.

Cat Power - "Oh Sister/Knocking on Heaven's Door"

What can you say about the sultry Chan Marshall? She does Bob right, soulful, beautiful and true. The best version of "Door" ever, Lady Cat Marshall sounds simply heavenly.

Adrian Ernesto Cepeda
11.27.2007

Review: David Gray: Greatest Hits

My David Gray review can be found (click here) on treblezine.com


David Gray
Greatest Hits
ATCO
2007

Has it already been almost ten years since 1998's White Ladder was released? Where has this time gone? Though I must admit it was sometime in mid 2000 when I first heard David Gray. I had just moved on my own, for the first time, to New Orleans. I bought the year end issue of Q Magazine, with Thom Yorke on the cover, and it included a CD with the best artists and albums of the year, including David Gray's "We're Not Right." Of all the songs on that Q disc there was one of his lyrics that hit me, and one of my favorites that he has ever written— "Betty Ford won't you be my Valentine." I had just gotten out of a three year relationship and those words expressed how I was feeling at the time. I was single and alone, drinking heartily, in this wondrous Southern City. After playing "We're Not Right" over and over again, it became the theme song for my first bohemian summer as a barfly in New Orleans; I then went out and bought White Ladder. I was hooked from the beginning and have remained ever since.

Gray has to be the most popified (my word) artist of whom I am a fan. I'd say his music is a guilty pleasure. Still, the one thing I respect most about Gray is that he can write a grooved filled and addictive pop song. "Babylon" is what he's most famous for, but D.G. is no one hit wonder. Gray has had three UK number one albums—the above mentioned White Ladder, 2002's A New Day at Midnight and 2005's Life in Slow Motion. He has a rabid, worldwide fan base. He sold out two nights at The Wiltern in LA. And we can thank David Gray for the recent explosion of singer/songwriters such as Damien Rice, and blame him for the chart hit by James Blunt.

I have to say, gold records aside, that my favorite album of Gray's has to be Lost Songs. The aptly titled collection brings together a plethora of low-fi acoustic flavored "lost" songs that Gray had written from 1995-98 before his meteoric rise to international rock stardom. One of those songs, "Flame Turns Blue" makes an appearance on his Greatest Hits.

Many of my amigos know that I am not a fan of artists who release Greatest Hits compilations from new songs added (see my 2006 Best of Moby review). But Gray's the exception. David's new songs are worthy additions to his pop dominated discography. I prefer the opening track "You're the World to Me." It's a classic David Gray love song. He has a knack for writing joyous love songs that make you feel good on the inside. Even on piano ballads like "This Year's Love" you can't help but smile. This is why I love his music.

As you can guess, there are 4 tracks from White Ladder including "Babylon," "This Year's Love," "Please Forgive Me" and "Sail Away." Nonetheless, two of my favorite new Gray songs appear on this hits collection. "The One I Love" has the coolest line "Tell the repo man and the stars above you're the one I love." And "Hospital Food" contains the catchy chorus, "Tell me something I don't already know." I can't forget David's ultimate Valentine's Day song "Be Mine." I love the background harmony vocals with the recurring lyrics of "My heart is on fire," which ends in the ironic line "am I losing my sanity?" Only Gray could write lyrics this sweet and bright.

I've been listening to Greatest Hits since it arrived in my mailbox earlier this week, mainly because I hold a special place in my memories for Gray. I have to send him some special thanks for a night in my not so distant past. It's another New Orleans memory during my first Mardi Gras; I was tripping so intensely, all night long. The one album that I listened to that would calm me down while I tripped was White Ladder. I must have heard that album more than 20 times that night. Gray's music kept me from losing my mind, and I remember how sweet his voice sounded, keeping me calm during that wicked night.

For this and many other times in my life, I am indebted to the magical music from one David Gray. I dare you to listen to one of his song and not smile or feel happy. We have enough artists that sing about sadness and heartache. We need more David Grays in this world to help see the joy in our personal Babylons. Gray and his sweet English croon will stay in my ears and memories through winter, summer, day or night.

Adrian Ernesto Cepeda
11.29.2007

Review: Jesca Hoop: Kismet

My Jesca Hoop review can be found (click here) on treblezine.com


Jesca Hoop
Kismet
3Entertainment/Red Ink-Columbia
2007

Kismet is defined as fate, fortune, destiny or luck. Today I watched the first three episodes of the new internet-based dramedy Quarterlife by the creators of Thirtysomething and My So Called Life, Marshall Herskovitz and Edward Zwick. Quarterlife follows the life of misunderstood twenty-something Dylan Krieger, and watching it, I cannot help but think of singer/songwriter Jesca Hoop. Hoop's songs would make the perfect soundtrack voice for Dylan on the show. Both Jesca and Dylan are outcasts in their prospective universes. Both are creative and intellectually stimulating women who are naturally and distinctively gifted with the souls of poets, waiting to be discovered by the universe dying for authentic beauty.

Jesca Hoop comes to us from the magical hills of Los Angeles. She is one of a kind, though we actually do have artists with soul here in the West Coast, and she is a jewel waiting to be unearthed. She has a Fiona Apple-esque voice with a more eccentric lyrical vibe. It's no wonder that Tom Waits is a fan of this California Chanteuse. Take a dive into her world of Kismet; it's a strange wonderland with Pepper-esque sounds missing from this age of commercialized jingles clogging the airwaves with soulless toaster music.

From the opening Cocteau Twins-like effects of "Summertime" you enter inside Hoop's enchanting animated forest come to life. Her voice is the guide to the adventurous Kismet. The quiet moments are where Hoop's gift of lyrical marvel glimmers brightest. She has the one of a kind voice that you'll follow to the end of her imaginary trip. One of my favorite cuts is "Enemy." With just her acoustic guitar and slight harmonious chorus this song shines with lyrics like "I've come to see that beauty is a thing that is without grace."

Grace is a trait that many artists lack, yet Hoop is filled with charm, especially in the Hollywood-esque and Ditty Bop-ish number "Silverscreen." I love the lyrics in this timeless number, as I hear "Silverscreen" as Hoop's first journey inside Tinsel Town. Her witty wordplay best comes through when she sings, "The Gates of heaven are open/ and there is me/ on the silver screen/ I hope they did good editing."

"Money" is one of my favorites, a more upbeat ditty that makes the perfect segue from "Silverscreen." Hoop seems to know all about show business when sings, "…into the mirrors on the wall/ `cause if you want to belong you write a sing along." This satirical look trying to survive as an artist in this country of commerce is one of the best songs on Kismet. The backing vocals and eerie tones turn "Money" into a modern day ghost song for the innovative dreamers longing to have their shot in this land lacking any reasonable opportunity for success.

I have a soft spot for "Love Is All We Have," a lyrical ode to my old home of New Orleans and those who may have lost hope after the destruction of Katrina. With lyrics like "when we move with angels on our shoes, sickest angels you ever know, " it sounds like Hoop must have spent some time in the 504 because she knows how to layer her songs with some funky back beats. Listen to "Out to the back door" an urban soundscape with featuring the drumming skills on one Matt Chamberlain (who's best know for his work with Tori Amos and Fiona Apple).

Even though I first heard Jesca Hoop as the cinematic voice of Quarterlife's lead character Dylan Kreiger, she's meant to be more than a soundtrack muse. This breathtaking journey inside the lyrical mind space of this unconventional artist is so stunning that Kismet deserves to be dissected delved into and desired over and over again.

Adrian Ernesto Cepeda
11.28.2007

Review: Various Artists: I'm Not There OST

My I'm Not There review can be found (click here) on treblezine.com


Various Artists
I'm Not There
Columbia
2007

Who the fuck was Bob Dylan any way? The folkie, Woody Guthrie inspired acoustic troubadour folk hero who stood behind MLK during his famous " I Have a Dream," speech? The electric rebel who took his three chords and fed them back to his betrayed audience with a backfeeding grin of defiance in 1965? The country-esque crooner who tweaked his voice during his Nashville sessions? The man who found God in the '80s? Was he all of these or none of the above? The shades and former past lives of this same enigmatic artist we have loved for all of these years are channeled in the new Todd Haynes directed bio-pic I'm Not There.

There are many music fans out there who don't grasp the poetic master that is Bob Dylan. Just like many readers didn't fully comprehend the language and lyrical nuances of The Bard, William Shakespeare. To my ears, Bob is our nation's artistic counterpart. Like Shakespeare wrote plays that changed drama and literature as we know it, Dylan wrote albums and songs that inspired, shook and revolutionized the music we have always adored and love today. You see, understanding Dylan, is a rite of passage. You are not a real music aficionado until you appreciate the poetic power of Bob Dylan. Without him and his songs there would be a giant void in the sounds coming from our stereos and iPods.

Since 1960, there have been many covers of Dylan songs, some breathtaking like Hendrix's take on "All Along the Watchtower," and others not so good. You are not truly an artist until you honor the majestic poet that is Bob Dylan by covering one of his songs, and doing it right. To honor our greatest living singer/songwriter, Haynes had gathered some of the most influential artists of today to cover some of Bob's song for the soundtrack of his eclectic film.

The artists on I'm Not There do Dylan justice and do not disappoint. The soundtrack kicks off with killer version of "All Along the Watchtower" by Eddie Vedder and The Million Dollar Bashers. The Bashers are a musical dream team of today's best musicians, including Sonic Youth stars Lee Ranaldo and Steve Shelley, Wilco guitarist Nels Cline, Television guitarist Tom Verlaine, Dylan bassist Tony Garnier, guitarist Smokey Hormel and keyboardist John Medeski, all brought together as a backing to supply the magical rhythm track to Dylan's timeless muse. Through out this amazing disc, The Bashers provide the landscape for the singers to do their tributes to Bob.

There are two discs full of incredible performances, here, and I have my favorites, such as Sonic Youth tearing up The Basement Tapes outtake, "I'm Not There." Stephen Malkmus of Pavement fame, of whom I was never really a fan, shines brightly on his bluesy version of "Ballad of a Thin Man." Cat Power does her best female Dylan voice and seductively succeeds on "Stuck Inside of Mobile with the Memphis Blues Again." John Doe's trademark Golden State voice gives Dylan a fitting soulful treatment on "Pressing On." Calexico and Parisian Chanteuse Charlotte Gainsbourg come together on a graceful version of one of my favorite Dylan songs, "Just Like a Woman." David Mansfield's fiddle soars so beautifully along with Wilco's Jeff Tweedy's brilliant rendition of "Simple Twist of Fate." Mark Lanegan, the post modern Johnny Cash, brings a powerful elegance to "Man in the Long Black Coat." Calexico and Willie Nelson's Mariachi vibe of "Senor (Tales of Yankee Power)" is one of the soundtrack's standout and most memorable covers. But my favorite has to be Antony and the Johnson's stunning performance of Dylan's "Knocking on Heaven's Door." Antony's angelic vocal brings the Dylan's sacred lyrics alive with his faithful and modern day treatment of this Dylan classic.

So many performers to mention that a dissertation could be made on the CD and the film, which brings me to my only complaint of I'm Not There, of the artists who do not appear on the soundtrack. It would have been perfection to fit such luminaries like Ryan Adams, Conor Oberst and PJ Harvey on this soundtrack, but is this being greedy on my part? I don't think so, but in any case, I'm Not There will make the perfect gift this holiday season for the die hard fan or even the novice looking forward to take that musical journey inside the undiscovered country that is Bob Dylan.

In the film and soundtrack there are many faces that portray and bring to life on the screen and in song for I'm Not There, which goes to suggest that the myth of Dylan will outlive the man. The music and his message is what we will always remember. And when the day comes when he will not be there with us, his voice, his words and songs will still resound through all of us. I believe what Haynes is trying to say is that we are all Bob Dylan. Each one of us, man, woman and child, who listen to Dylan's lyrics become a part of the mythology. We personally piece together his puzzling lyrics by incorporating them with our own memories and lives by making these legendary songs our very own. Just like the artists covering his songs, we wear the masks of his melodies every time we sing his sons. And I'm Not There is the ultimate tribute to the artist who will always be here, there and everywhere, within us in the rhymes and rhythms of his eternal songs.

Adrian Ernesto Cepeda
11.26.2007

Review: Mick Jagger: The Very Best of...

My Mick Jagger review can be found (click here) on treblezine.com



Mick Jagger
The Very Best of...
Atlantic/Rhino
2007

Every fan knows that when it comes to The Glimmer Twins, there are two sides between the fences of devotion in Stones camp, Keith Richards or Mick Jagger— you like one more than the other, and never equally. I have always been a Keef fan. He's a more traditional straight shooter who tells you like it is. He's got a heart of saint and a soul of a sinner. He personifies everything that we want and need in the world of rock and roll excess.

But there's something to be said about Mick Jagger and his role as our favorite Stone. I got to give Jagger props; Mick's the guy who's tries to evolve the Stones sound into something more modern. There's Mick always incorporating contemporary rhythms with the classic blues vibe of our Rolling Stones. Keef is the old school bluesman who resists the temptation of adding modern jingles to the Stones. It's this electric dichotomy and difference in mindsets by these two musicians that make the Stones such a distinctive monster that won't ever go away.

This is the one aspect of Jagger that I respect the most. If it wasn't for Mick, The Dust Brothers wouldn't have worked their magic on "Anybody Seen My Baby" and "Saint of Me" on the under appreciated Bridges to Babylon. It didn't start there; just go back listen to the disco beats on 1978's "Miss You" and the percussive layered reverberations on 1983's "Undercover of The Night."

Jagger had been experimenting more since before sucking in the seventies as a solo artist. It wasn't until the eighties, during the much publicized sabbatical of his beloved Stones, that Jagger's solo career went platinum. This year brings a collection of his most beloved solo cuts on The Very Best of Mick Jagger.

Being on the proud side of Keef's camp, I preferred his solo LPs Talk is Cheap and Main Offender so, theoretically, I shouldn't like any of Mick's albums. But after revisiting his past output on this compilation I have to admit a lot of his solo recordings are creatively on the cutting edge and very rhythmically addicting.

Some of Mick's most familiar solo songs are here, like 1985's collaboration with David Bowie on the top ten single "Dancing in the Streets" to my favorite, 1983's "Just Another Night." The latter had been a radio staple I heard on the radio during my days growing up in Ann Arbor, Michigan. Walking around, this year with the festive sounds of the French Quarter around me, I had this song in my head during my vacation con mi novia in New Orleans. You can't but smile, dance and enjoy life whilst listening to a Mick Jagger song.

That's the way he records them—with the enthusiasm of a cosmic rock and roll dancer. He has to feel the beat as he sings to the songs live. Even while listening back to the playback, if Mick doesn't feel it, Jagger cuts the song again. He wants everyone to feel the vibe on songs like "Put Me in the Trash," from your feet through your soul. You have to respect the goal of an artist who wants to move you with his electric muse from afar.

Since I am a relative novice to Jagger's discography, there are some songs that I newly discovered on this CD. I enjoyed the rocking "God Gave Me Everything" with Lenny Kravitz on guitar. You can't help but get down to the "Undercover"-inspired, beat heavy "Let's Work." My favorite has to be the very elegantly beautiful ballad "Evening Gown," a piano-based and Americana flavored ode to growing old with his amor.

Look for some unearthed gems like the John Lennon produced and the very funky "Too Many Cooks (Spoil the Soup)." This one sounds like the perfect groovy theme song to an unmade action films from the seventies. I love the equally marvelous and flamenco flavored "Charmed Life" that features Mick's daughter Karis on backing vocals. If you were aching for some Stones inspired blues, look towards "Checking Up on my Baby" with L.A.'s Red Devils laying down the low down backbeats that will definitely cure your fix.

One of my favorite cuts is the Golden Globe award winning "Old Habits Die Hard." Written and recorded with ex-Eurythmic Dave Stewart, this song was featured in the much forgotten remake of Alfie with Jude Law. Unfortunately for Law, Jagger's song was the best thing about the movie. On" Old Habits" Mick perfectly brings out the authentic dreamy eyed unlucky in love romantic that's buried inside of us.

I have to say that the best song on The Very Best of has to be the classic "Memo from Turner" from the soundtrack of Performance. "Memo" reflects the true essence of Mick's solo incarnation. Throughout his illustrious solo career, Mick always had his soul in the past and voice set in eye of the future. Even without the Stones, Jagger has been making waves that will resonate alone with the sound smooth lyrical soul man. Listen as he lays down his killer vocals on songs behind these southern fried blues beats; he always finds the perfect rhymes to rock you in the morning, noon, night— and beyond.

Adrian Ernesto Cepeda
11.14.07

Review: John Doe: A Year in the Wilderness

My John Doe review can be found (click here) on treblezine.com



John Doe
A Year in the Wilderness
Yep Roc
2007

John Doe has the best name in rock, a term used to describe the identity of an unknown person. What we do know about this eclectic artist is that he was part of the original West Coast punk movement, along with his ex-wife Exene Cervenka in the seminal and mega influential band X, best known for their classic Ray Manzarek-produced debut album aptly titled Los Angeles. Los Angeles is the quintessential punk rock album, and because of the title track and the cover of "Soul Kitchen," put the City of Angels and John Doe on the map as innovators within a punk movement that was largely known for its origins in New York and London.

Aside from being a fan of his work in X and his stellar film and TV career (having appeared in Roswell, and guilty pleasure classic Road House), I am pretty much a novice of the music output of the man we know as John Doe. But I just got back into his music while on vacation after picking up a copy of the soundtrack to Todd Haynes' Dylan biopic I'm Not There. Mi novia and I listened to it on a daytrip to Austin, Texas, and as I was driving, at the beginning of every track I attempted to guess the artist singing each song. One of the few I got right was John's trademark raspy Western Country drawl.

As we drove into Austin, I remembered hearing about John's album, A Year in the Wilderness that was released earlier this year, which included duets with three of the past two decades' greatest female sirens—Aimee Mann, Kathleen Edwards and Jill Sobule. Because of Doe's trademark performances on I'm Not There, I couldn't help but dig into Wilderness.

For some reason, I expected Wilderness to be a Western Blues album in the realm of Mark Lanegan, but unfortunately Doe's not that kind of singer. While Lanegan's vocal is more in the traditional old country style of Johnny Cash with a gothic vibe, Doe has a rough and tough voice, which is coarser and not as elegant. Not that it's bad thing. In fact, Doe's rock-country roots come through clearly as he sings "You are the hole in my head" in seminal cut "The Golden State," the first of three collaborations with Canadian singer Kathleen Edwards.

I actually prefer the acoustic-tinged harsh beauty of "Darling Underdog" written with his ex-wife and bandmate Exene. You hear Doe's exquisite lyrics as he achingly sings "When I thought I could fly/ you became my sky." Listen to Doe sing with Edwards, "Just a little more time with you and me" on "A Little More Time." Edwards returns this time, singing perfect harmonies and dual vocal duties throughout this song about a longing love that lingers but will never return.

The song that I was pining to hear was "Unforgiven," Doe's duet with Aimee Mann. This is where Doe's rock roots come through loud and clear in this upbeat heavy, riff-layered number that sounds like a love song with slight punk overtones. I love the lyrics: "If I had one wish/that one wish would be/ some day I could raise my face to eyes that loved me."

A full-fledged rocker follows in the very addictive "There's a Hole." Doe sings without bitterness, "Oh baby there's a hole in the neighborhood since you are gone." With lyrics like this, you will hear John Doe's message resonate throughout. The theme of Wilderness is heartache and loneliness. You hear it and it's not as painful as, say, listening to a Ryan Adams or Bright Eyes album. I love them both, you see, but there's something about Doe's voice, a hint of faith and hope, kind of like being lost on the road of life but seeing a sign or star in the sky that keeps you going. John Doe is not country, not rock, not folkie and far from his punk incarnation of his past. If you're looking for the young punk from X, you have come to the wrong album. He still rocks but Wilderness is, more importantly, the sound of man on a journey of identity.

(Note: with purchase of A Year in the Wilderness you get two free downloads from the Yep Roc website. John Doe's killer cover of Joni Mitchell's "A Case of You" and an awesome acoustic version of "The Golden State.")

Adrian Ernesto Cepeda
11.12.2007

Review: R.E.M.: R.E.M. Live

My R.E.M. review can be found (click here) on treblezine.com



R.E.M.
R.E.M. Live
Warner Bros
2007

The first time I saw R.E.M. live in concert was during their 1989 worldwide Green Tour. Even though I was grounded every other weekend during my senior year at Winston Churchill High School in San Antonio, Texas, somehow I convinced my parents to let me go to the show. I had some classmates of mine buy me a ticket, eighth row seat for fifteen bucks. (The price of that same ticket today might go for $50 to $150)

I had seen Midnight Oil in a small club but this was my first official big rock concert and what a show it was. Three hours plus with multiple encores, which included Michael Stipe and Mike Mills singing an a cappella version of " Moon River." They played "We Walk" from Murmur, the cover of Pylon's "Crazy" from Dead Letter Office and of course "The One I Love" from Document. If I had just seen this show it would have gone down as one of the best rock concert experiences ever but something else happened that night, after the show which changed my life, for the better, forever.

After the concert, my buddy George and I passed upon some groups of fans who were hanging out by the buses waiting to see any members of R.E.M. emerge. We saw a glimpse of geeky Mike Mills from the distance; this was before he transformed into the cool version of himself during the Monster years

Five minutes later out of the shadows, with a bottle of Jack Daniels under his arm, comes Michael Stipe. He was very short, a shy but sweet figure. I felt like I was dreaming as one of my heroes stood in front of my very eyes. I was the first one to speak as I we had a short conversation, a mini interview about Sting, whom I was a big fan of during those …Nothing Like The Sun days. I asked if he supported Sting's campaign for Greenpeace because I had read some animosity towards Mr. Sumner, as these were the days when he was being lambasted in the press for his overexposure of his causes to save the earth. Stipe responded he supports anyone who does work for Greenpeace.

After a few minutes, Stipe refused to sign autographs but he did shake all of our hands. Michael was the perfect Southern Gentleman. As I went home, stayed up all night and listened to all my R.E.M. tapes. I wrote a letter to the editor of our home town paper about my experiences that night. A few weeks later my letter was printed. Even though I had been writing my personal Star Trek fan fiction since age seven, this was the first time I had seen my name in print. At that moment, I knew that I wanted to be a writer. That one night, going to a rock concert and meeting one of my heroes, changed my life.

This one moment went through my mind as I listened and watched the 2007 edition of R.E.M.'s Live CD and companion DVD. This live show was recorded in Dublin, Ireland home to R.E.M.'s musical compadres U2 during their Around the Sun tour. The set-list showcases many songs from that misunderstood album Around the Sun, but there are a few classic treats thrown in for us die hard fans.

The disc starts off with the Monster riff from "I Took Your Name." An interesting choice of opening tracks that contains one of my favorite Stipe lines, "I don't wanna be Iggy Pop but if that's what it takes." The release of this concert set reveals to the world that even though R.E.M is getting older, they're far from being dinosaurs; these guys have aged like a Cabernet...er, one that can rock you off your seats, with Peter Buck's timeless chord changes that ring truer than ever before on this stage in Dublin. R.E.M. keep the frequency cranked up during most of the show with the inclusion of "Orange Crush," "Bad Day" and a killer version of "So Fast, So Numb" from New Adventures in Hi-Fi in the set.

Some surprises are the addition of the laid back, slower styled version of "Drive" from Automatic for the People. This one differs from the amped up live edition that they played on the Monster tour that was even featured on the Greenpeace compilation Alternative NRG. I particularly love the version of Life's Rich Pageant's "Cuyahoga." Even though the politico lyrics of "Let's put our heads together and start a new country up" ring truer today, the lines "Take a picture here, take a souvenir," mirror the release of the CD.

This is the first R.E.M. live disc in their history and for fans like myself, it's been a long time coming. I would have loved to have heard a show from their heyday as a four piece powerhouse, but this new incarnation of the band, which includes former Ministry drummer Bill Rieflin, marks a new evolution of the band that I have grown up with since those days of Green and before.

I don't love everything about R.E.M. Live, however. The DVD is very disappointing. Director Blue Leach attempts to modernize some of his quick action cuts for the young kids who weren't even born when R.E.M. first became a band in Athens, Georgia circa 1980. Even though R.E.M. has evolved since then, they are not the stylish upstarts that deserve this kind of super gloss. R.E.M. has always been about substance over style, just listen to the mirrored chorus on "The One I Love" Unfortunately, the quick MTV style cuts that annoy me so much appear during the louder numbers like "I Took Your Name." Leach does finally lay off of the jump cuts on the slower numbers, but by then I was reaching for a dose of Dramamine.

The DVD tries to recreate the R.E.M. live concert experience and, because of Leach's ADD-style editing, fails. R.E.M.'s edition is a proper live document. I recommend shelving the DVD, listening to the CD and buying a ticket to see them sometime in 2008. The problem with live albums is that they try to capture the essence of a band on stage. Some records like Bob Marley's 1975 Live album is one of the many classics by which concert albums are held up to. This one strives for that greatness but R.E.M. Live misses that high mark. Even so, this album is a worthy edition to your collection of R.E.M. albums.

If you're a die hard R.E.M. fan you will want to pick up this Live CD for the inclusion of the never released "I'm Gonna DJ." It's a short urban rock blast that has Michael rapping, wanting to "DJ at the end of the world." Another surprise gem is the Mike Mills lead vocal on countrified classic of Reckoning's "(Don't Go Back to) Rockville." I love the way that the album ends with the now live staple and classic "Man on the Moon," a song about reminiscing about the past, which is something I can't help but do as I listen to this live document.

Adrian Ernesto Cepeda
11.08.2007

Review: Thurston Moore: Trees Outside the Academy

My Thurston Moore review can be found (click here) on treblezine.com



Thurston Moore
Trees Outside the Academy
Ecstatic Peace
2007

I remember "borrowing" my Papi's car and taking a few of my friends on an adventure up I-10 from San Antonio to Austin, Texas's Auquafest in the early '90s to go see The Escape from New York Tour featuring The Ramones, Debbie Harry, Tom Tom Club and Jerry Harrison all for eight bucks. The soundtrack for our adventure was my favorite Sonic Youth album Goo,. I realize looking back to that moment as I drove with my windows opened, wind in my hair with Goo blasting through the speakers of my Papi's car that, in my heart, Sonic Youth defined the essence of freedom and expression. They are the Beat Generation, Avant Garde, the Punk and DiY movements all rolled into one chaotic blend of beautiful feedback.

Thurston Moore has always been the essence of cool to me. He had the coolest wife, Kim Gordon, and they have the ultimate marriage built on love, devotion and complete creative inspiration and fulfillment. Plus they have the coolest kid, Coco,, and they are in one of the most influential American art rock bands of the 20th Century. Now that's a life! The thing that I respect most about Thurston Moore is that he and his band have done it their way. They have never compromised Sonic Youth's sound and vision to appease the mainstream. They continue to break the rules in the establishment's playbook for success, and release cutting edge works of art that sound like the beauty and color of a Jackson Pollock painting coming to life.

In 1995, Thurston released his first solo album, the much under appreciated Psychic Hearts, which was a continuation of the Sonic feedback sound that they made famous on the landmark album Daydream Nation. This year, Moore unplugged his favorite electric guitar and turned toward a direction as he tackled the acoustic guitar in Trees Outside The Academy.

Don't worry Sonic Youth fans; Thurston Moore hasn't gone Acoustic Alchemy on us. In fact the opening number "Frozen Gtr" has a Velvet Underground vibe. Listen for the back feeding strings in the background, which echo White Light/White Heat. The song goes into a Nirvana unplugged vibe which sounds eclectically electric. Speaking of, Moore hasn't completely unplugged his favorite amp. There is some electric guitar in the mix courtesy of his good friend and Dinosaur Jr. leader J. Masics, but this is mostly an acoustic effort with the powerful brilliance of Thurston's trademark riffs that you know and love so well.

While Psychic Hearts was an ode to the experimental art guitar thrashing of Thurston's idol Yoko Ono, You can hear the influence of his heroine Patti Smith throughout Trees. Smith has always found away to keep her voice loud and raucous even during the most elegant of backbeats. Moore sounds soulful with his acoustic guitar. I love the way he blends the acoustic and electric to bring to life a quiet/loud vibe that's reflective and potent in the same song as in "Shape in a Trance."

The lyric that best describes this album is from "Honest James" when Thurston sings, "he rolls into the darkness and he needs you to be near." It's as if Moore is admitting that he carries the baggage of his electric past but he wants you to listen closer. Moore is far from a one trick pony; he embraces the acoustic guitar into his arsenal and has created a very moving album about life, loss, love and reflective devotion.

Moore still uses feedback as an introduction to "Fri/End" like a painter uses color from his pallet as texture to give his canvas a more complete sound. I love his use of strings through out. Listen to way he combines the texture like riffs along with the string arrangements that echo the experimental yet extraordinary nature of the Kronos Quartet.

The album ends with a special bonus, a track featuring Thurston Moore age 13. It is a recording of Moore spraying Lysol around the room. You can hear the imagination of this youngster who's making noise into art, something that Thurston and Sonic Youth have perfected during their still active and engaging career. Trees is a new side of Thurston Moore that is sonically more intimate yet still has that trademark artistic rawness that we have loved from this experimental axe-man. What you are about to hear is someone embracing his roots with a new musical weapon that's elegantly commanding you to crank it up.

Adrian Ernesto Cepeda
11.07.2007