The Killers debut album Hot Fuss was a shocking success only because the band successfully revisited the music from their youth. You get everything like Nu Wave, Glam Rock and Springsteen Stadium Anthems all rolled into one.
Lead singer and primary songwriter Brandon Flowers has released a pretty good solo album. Flamingo (Island) isn’t a departure from what you’d expect from a Killers record; it’s of an extension of what we’re used to hearing from the band.
All this could easily fit on the next Killers record which leads one to wonder if Flowers is checking the waters here for a full-time solo career. Some songs like “Jilted Lovers and Broken Hearts” and “Crossfire” are absolutely stunning, other tracks like “The Clock Was Ticking” and “Playing With Fire” – not so much.
If he were to leave his Killers band mates on the side of the road, Flamingo is a respectable starting spot.
How does someone not embrace the magical soul stylings of Mavis Staples? Born right down the road in Chicago in 1939, Staples brought gospel music to the forefront of the pop world with her debut “Uncloudy Day” back in 1956 and it’s been non-stop ever since. Her latest is You Are Not Alone (Anti).
Produced by Jeff Tweedy of Wilco fame, the album was recorded at Wilco’s Chicago studio. Tweedy was pretty smart keeping her at home and using her band with very little outside accompaniment, allowing Staples to feel comfortable within her musical surroundings.
This is not a Staple Singers meets Wilco alternative country meets gospel record. It’s really a true blue gospel record meant to reach out and touch you, and they succeed. Mavis at 71 years young still has the vocals that pack a punch.
Everything grooves because of the stellar material they recorded. Material by the likes of Randy Newman, Allen Toussaint, Pops Staples and two new songs by Tweedy do the trick. Standouts include “Last Train,” “Only The Lord Knows” and my favorite, “I Belong To The Band.”
It’s taken quite awhile for Robert Plant to find his own way after the demise in 1980 of the legendary Led Zeppelin. He’s dabbled in everything from remaking 50’s hits like “Sea Of Love,” sampling his old band on Now and Zen and even made a keyboard driven album with Shaken ‘n’ Stirred. He really didn’t find his own niche until his collaboration with Alison Krauss on Raising Sand in 2007.
He’s followed that up with Band Of Joy (Es Paranza). It’s not Raising Sand Part II but it’s not far from it either. It’s at times dark, moody and very mysterious. Plant has learned that he no longer needs to scream and howl like he did in his Zeppelin days to be heard.
Less is more, and this time producer Buddy Miller is holding everyone to the formula. Plant is overall a better vocalist now than ever; especially in songs like the gentle ballad “The Only Sound That Matters.”
Last time, Plant had Krauss to play off of but here his vocal foil is non other than Nancy Griffith in more of a featured role, not so much as a collaborator. Their voices mix well on the few tunes they’re paired, along with the brilliant instrumental playing, especially Miller’s guitar.
Standouts include: “Monkey,” “Angel Dance,” “You Can’t Buy My Love,” “Even This Shall Pass Away” and the doo-woppy “Falling in Love Again.” This is a pretty damned good follow up.
I’ll admit that back in the day, Santana was a pioneer infusing afro-jazz and guitar rock into something beyond special. But after the band’s third album, they’ve been just short of annoying.
The latest, Guitar Heaven: The Greatest Guitar Classics Of All Time (Arista) is a snooze. If you think the title’s long, try getting through the album’s 14 tracks without falling asleep. Carlos Santana has never, as in ever, played with emotion. Speed yes – feeling no. He might very well preach spirituality but it’s never been reflected in his playing.
The idea here is to cover classics like “Whole Lotta Love,” “Smoke On The Water” and “Sunshine Of Your Love” the Santana way accompanied by guest vocalists like Chris Cornell (Soundgarden), Jacoby Shaddix (Papa Roach) and Rob Thomas (Matchbox Twenty) respectively.
The problem with this concept is that Santana pretty much copies them note for note. So why even do it if you’re not bringing anything original into the mix? The result is pretty much like any bar band playing in a West Allis bowling alley, on a Tuesday night.
What does work is when artists stray away from the familiar arrangements and breathe new life into tired songs. Nas ripping AC/DC’s “Back in Black” to shreds is brilliant and the acoustically based “While My Guitar Gently Weeps” is close behind with India Arie’s gorgeous vocals along with virtuoso cellist Yo-Yo Ma.
Outside of that, why even try?
Brandon Flowers (Noel Tanner)
