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July 17, 2008
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2008-07-17 
Reviews - CD
Dan Tyminski
Wheels
(Rounder Records)

C+

Dan Tyminski

Multi-Grammy winning bluegrass artist Dan Tyminski is known more as a sideman than a leader - unless you count the fact that it was his voice dubbed onto George Clooney's lip synching of I Am A Man of Constant Sorrow in O, Brother Where Art Thou? As a member of Union Station, he's no stranger to success, and it makes sense that his solo work is imbued with a commerciality that will largely appeal to new converts as opposed to purists. Wheels is a nice listen, but what it delivers in mainstream bluegrass picking and singing it lacks equally in backwoods spookiness.
— Jeff Monk
Various Artists
In The Name of Love: Africa Celebrates U2
(Shout! Factory)

B

Various Artists

Ireland may be thousands of miles away, but the 12 African artists on this unique tribute record feel right at home giving U2 classics the homegrown treatment. The disc, honouring Bono and co.'s humanitarian work, features reinterpretations of U2's greatest hits by the likes of Angelique Kidjo, Les Nubians, Vieux Farka Toure and others from across the continent. Although the songs recorded in regional dialects will likely be more rewarding for U2 fans ("Holy shit, is this Mysterious Ways?"), the true highlight here is the cover of Seconds, (in English) by the wicked Refugee All Stars from Sierra Leone. Like any tribute album, there are a few mismatches here, but you don't have to be a U2 fan to appreciate the quality and passion of these performances.
— Sam Thompson
James Hunter
The Hard Way
(Hear/Universal)

A

James Hunter

When it comes to retro-soul, James Hunter is (as Arthur Conley would say it) "the king of 'em all, y'all." On his fourth album, more of Hunter's personal blue-eyed soul persona emerges in his vocal yelps and trills, and his single-note chicken scratch guitar style, and there's a rougher rock edge to the up-tempo numbers. Highlights include the smooth-as-silk soul of The Hard Way - which will make you yearn to hear Sam Cooke sing again - and the rockin' doo-wop fun of Jaqueline, which will transport you to another musical time and place.
— Jim Millican
Various Artists
Ragga Ragga Ragga! 2008
(Greensleeves)

C

Various Artists

This year's instalment of Greensleeves' annual dancehall comp should be renamed Auto-tune Auto-tune Auto-tune! The dreaded robo-voice invades almost every track here, destroying what would otherwise be quality work by the likes of Mavado, Vybz Kartel and Demarco. Even poor Michael Rose - an iconic vocalist who doesn't need the computerized help - falls victim to the digitization on Shoot Out, hands-down the best song here, despite the effects. Elephant Man remains reliably digi-free on the raucous Cater for the Poor, but it's not enough to save this comp.
— Sam Thompson
Socalled
Ghettoblaster
(J-Dub)

C+

Socalled

Ghettoblaster is an interesting experiment. Socalled (aka Josh Dolgin) has combined his love for hip hop with traditional Jewish music - a combination that, at times, yields unexpectedly good results. Despite the originality of Dolgin's mash-up of klezmer, drum machines and Hebrew spoken-word samples, the one-note subject matter gets old quickly. More bothersome is Dolgin's rap style, delivered in the lazy, hipper-than-thou drawl of someone who wants you to know how tight his American Apparel pants are. Dolgin sails into uncharted waters - but unless you're Jewish, a hipster or both, you may not be tempted to climb on board.
— Sam Thompson
Walter Becker
Circus Money
(5 Over 12 Records)

C

Walter Becker

For those of you old enough to remember, Walter Becker was one half of the songwriting team (along with Michael Fagen) that was the nucleus of Los Angeles muso-popsters Steely Dan. The band's ability to make everything it did sound studied and forced was one of its chief selling points to those who choose chops over soul when purchasing music. It's always been plain that Becker needs Fagen's idiosyncratic yelp to get his songs across. Becker sounds like a drowsy dog when he sings, and even at his most energetic, it sounds like he'd rather be reclining somewhere with a mojito and a big bag of weed.
— Jeff Monk
Stereophonics
Pull The Pin
(Universal V2 Records)

B

Stereophonics

Mostly a hit-making machine in the U.K., Stereophonics is the kind of band that really gets your spine tingling when it's blasting from the tower speakers, but leaves little left after the concluding wild crescendo. These handsome lads at least work their strengths and pitch their sonic tent somewhere in a field that contains Oasis, U2 and (it's true) the Sex Pistols. Hardly the gobbing punks, vocalist/guitarist Kelly Jones at least adds a sneer to his voice on a couple of tracks which saves this album from being completely obvious. Pull The Pin is a perfect soundtrack for popping a few blues and scootering over to something resembling a mod club.
— Jeff Monk
Souljah Fyah
Truth Will Reveal
(SJF)

C+

Souljah Fyah

In an era where digital riddims are the order of the day, it's always nice to hear a self-contained roots-reggae act, especially if said act is Canadian. Although Edmonton's Souljah Fyah is a six-piece, frontwoman Janaya Ellis is definitely the star of the show, delivering smooth, soulful vocals over the group's keyboard-heavy backing. Souljah Fyah has an unfortunate tendency toward safe, hotel-band pop-reggae, relying on cheesy effects, dated production (Synth horns? Seriously?) and lyrics that reach for political depth. Despite this, and a hideous Dylan cover, the band - particularly Ellis - shows a lot of promise.
— Sam Thompson
Opopo
Opopo
(Urbnet)

B+

Opopo

Disc of the Week

The problem with a lot of electronic music is that it's too perfect - so repetitive and exacting that it loses any edge it may have had. For Toronto three-piece Opopo, however, that's not a problem. Despite the standard pounding beats and synth-heavy beeping, Opopo's electronics sound like they're coming from a computer that's about to crash. Tracks such as Computer Menace and the awesome Odoktro have an undeniable groove, dripping with fuzz, feedback and what can best be described as the robot version of punk rock. Although it's only six tracks, this EP is the perfect length - a driving progression of songs that refuses to grow tiresome. The only sore point here is the lyrics - generic odes to dancing and sex, with the occasional computer reference to keep things on track.
— Sam Thompson
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