Here We Go Magic: “Here We Go Magic”

There is a theory that trends move in twenty year cycles. During the 1970s, American culture and art were enamored with the 1950s, in the 1980s they were obsessed with the 1960s, and so on. So it should come as no surprise that two decades after artists like The Talking Heads, Peter Gabriel, and Paul Simon were experimenting with African rhythms in pop songs so many groups would be doing the same thing. Last year a little band called The Dodos put out a terrific debut which made use of African drumming patterns. Sadly, not many people heard this record as they were instead listening to the cheap Peter Gabriel knock-offs, Vampire Weekend, who also were incorporating a bit of Africa into their pop. More recently, Animal Collective has been a part of this fad as well along with a ton of other indie and mainstream artists of the past couple years. A new-comer to the part is a band called Here We Go Magic with their self-titled debut. If Vampire Weekend were listening to lots of Gabriel’s ’80s albums for inspiration, HWGM were spinning Graceland and Remain in the Light like crazy while making this.

Though I’m referring to a band, Here We Go Magic is built around former indie-folk, singer/songwriter Luke Temple and this record was recorded solely by him at home. His acoustic guitar does appear on this new record but it’s alongside some analog synthesizers, looped vocals, and you guessed it, African rhythms. “Only Pieces” is a spectacular opener revealing the fun wedding of acoustic guitars, ’80s-esque synths, and steady, tribal rhythms. Temple’s vocals here sound eerily like that of Paul Simon, only adding to the feeling that the song is a leftover from twenty years ago. “What’s the use in dying,” he asks repeatedly, though an answer never comes. (Interestingly, in the closing moments of the album death emerges again as Temple declares, “We stuck around because nobody wanted to die.”) Many of the songs function like this, only a handful of lyrics which are repeated. It’s not annoying at all, in fact, it fits well with the African influences on the record. The next three tracks, “Fangela,” the electric “Ahab,” and the shining star, “Tunnelvision,” build on the solid foundation laid by the first song. Notice how “Tunnelvision” grows from an acoustic guitar to include a beat and a voice, then another guitar, and another, then more voices, and so on. It’s layers and rhythms are joyfully dizzying.

After the album reaches it’s high point here, things change on side two. The songs on this record are tremendous, but sadly, there are three tracks here that can only be called “songs” in the most avant-garde sense of the term and they really drag the album down a bit. Initially, it’s interesting–the first four songs are a fairly accessible to the average listener as they contain melodies and are supremely enjoyable to play. However, things get off track with the fifth track, “Ghost List,” which is little more than some industrial sounding sounds looped and looped. It’s a particularly disarming move as it follows the relatively pop-friendly offering, “Tunnelvision.” Things are a little better on track six, “I Just Want to See You Underwater,” as this one includes some splendid electric guitar loops and even some singing (though it is mostly a very memorable repetition of the title.) This song is followed by six-and-a-half minutes of noises and analog twiddling split between two tracks, “Babyohbabyijustcantstanditanymore,” and “Nat’s Alien.” Then the closer, “Everything’s Big,” hits and is easily the most traditional song here. It features live instruments including drums, piano, strings, guitar, and even accordion– and it sounds like it was recorded live rather than looped and spliced together like the rest of the songs. It’s a very interesting choice for the final song. The track has a pleasant antique feeling to it– like something we might expect to hear on the upcoming Grizzly Bear record.

In one sense, perhaps, the flow of the album is meant to be disarming and bizzare. It gives the record a sense that it is coming apart at it’s seams and endanger of floating away in the synthesized ether. But it never does. And then the record closes on a traditional, peaceful song which includes Temple singing, “Everything’s clean…everything’s new,” and he’s telling the truth. Everything has been stitched up in the end and we are all OK– just in time to return home in one piece. Even if the goal were to move through chaos back to “normal” song structures, I’m not really sure it accomplishes much. Instrumental, electronic songs are fine, but these three tracks just don’t sound good and you will be pressing the forward button when they roll around. The six actual songs here are fantastic, but the instrumentals are just noisy filler. This is still a record worth checking out simply because as a six-song EP, it would have knocked your socks off.

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“Tunnelvision” mp3. Or watch the video for Tunnelvision.

“Fangela” mp3.

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Here We Go Magic
Here We Go Magic
Western Vinyl, 2009
Rating: 3.5/5.0

Lily Allen: “It’s Not Me, It’s You”

Though the title of British bad girl Lily Allen’s second album claims that it’s not about her, it’s actually almost entirely about her. It’s Not Me, It’s You, much like her 2006 debut Alright, Still, is covered in her fingerprints and the personal pronouns “I” and “me” pop up on nearly ever minute of the record. But, at the end of the day, that is what we enjoy about Lily Allen and she has a personality that is big enough and saucy enough to carry a record.  Though some of the punky ska influences haven’t made their way their way from her debut to the new record, the music is well-crafted dance pop of the British variety which boasts a nice musical diversity evidenced in one example by the country-western flavor of “Not Fair.”

Allen has also brought her own irreverent cleverness back in a new batch of songs. This time around Allen sets here sights on a few easy targets. Of course, there are songs addressed to the young men who have broken her heart and the other fellas who just don’t do it for her (territory she also covered on her debut). There is also an explicitly-titled song addressed to George W. Bush which certainly shows off her spunky attitude and potty mouth but feels a bit outdated only one month into into President Obama’s term. Allen doesn’t end her tirade there, she issues a few attacks vaguely addressed to “society” and how they handle celebrity. Though her reference to “society” feels a bit juvenile, listening to Allen reflect on her new found fame and all that comes with it is one of the highlights of the record. Allen is struggling to keep her bearings and live a normal life in a world that wants to make her casual comments into headlines on music websites– that’s a tough thing to accept and she captures the emotions that stem from it very well in these songs.

What is remarkable about Allen and what separates her from the tepid, bland music being made by her contemporaries is that she has a strong sense of craft which has aided her in making music that is full of her personality. After listening to Allen’s American counterpart, Katy Perry, you don’t really have a sense of what she’s all about– but Allen’s music allows her audience to learn about who she is albeit in a limited sense. Though, It’s Not Me, It’s You is neither as clever nor as fun as Allen’s debut, it is a very worthy follow-up and if you don’t quite get her punchy, quirky style, well, as the title indicates, the fault does not lie with Lily Allen.

Lily Allen
It’s Not Me, It’s You
EMI; 2009
Rating: 3.5/5.0

The Bad Plus: “For All I Care”

As of 2009, The Bad Plus have solidified themselves as the current jazz trio band of choice for indie music fans– though some would have you falsely believe the word “jazz” has to be used loosely here because these guys simply rock too hard to be true and proper jazz. As this record demonstrates the two are not mutually exclusive. The Bad Plus first came to light with a stunning rendition of Nirvana’s “Smells Like Teen Spirit” which served as an attention-getter on their 2003 major label debut, These Are the Vistas. They’ve released an album nearly every year since and have fallen into a routine in which they’ve combined compelling originals and spirited covers of songs from disparate artists like The Pixies, Black Sabbath, Rush, David Bowie, and Burt Bacharach among others. What has been particularly impressive about The Bad Plus is that as an acoustic jazz band composed of drums, upright bass, and piano, they can churn out songs that rock surprisingly hard. It may be difficult to find a three-person group that can create such a full and nuanced sound as The Bad Plus when they are interpreting pop and rock classics of the 70s, 80s, and 90s.

On their latest offering, For All I Care, The Bad Plus depart from their previous recordings in two significant ways. First, there are no original songs on this album and, more significantly, there is a vocalist this time around, indie rocker, Wendy Lewis. The addition of a vocalist may cause some to listeners to do a double take, but it is a smart move as it allows them to develop on the themes in the lyrics. They certainly take advantage of that here, selecting songs that are thematically tied together with the concept of getting lost whether through drugs or love or existential crises. Even the title of the record, For All I Care, accurately captures the lackadaisical feeling that so often accompanies lostness. The music and the instrumental tracks develop this theme as well as songs like “Fem (Etude No. 8)” and “Semi-Simple Variations” foster feelings of disorientation and bewilderment. The record opens with Nirvana’s “Lithium,” a song that most music followers who lived during the 1990s would recognize easily. Their version contains the exact melody of the original but slightly slows the tempo during a small section in the verse– it’s a brilliantly disarming moment which perfectly prepares the listener for the druggy haze that is found on the rest of the record.

Lewis is just as talented as interpreting these songs as The Bad Plus. She sings “Comfortably Numb” in a way that is full of dread and peace and she hits the peaks and the valleys of “How Deep is Your Love” perfectly. On “Barracuda,” Lewis captures the power and anger of Ann Wilson’s vocal performance while the trio work overtime creating a loud and noisy atmosphere to match Nancy Wilson’s roaring guitar. However, the shining moment of the record comes on their sensational take on Wilco’s “Radio Cure.” It opens with only Lewis’ voice and the bass creating the moody quiescence of the original. She is singing at the bottom of her register in those first few moments but before the track closes she has shown us the other end of her range and the journey between the two points is simply thrilling. The Bad Plus’s performance on this song is flawless and it all works together to create a tremendously wonderful and moving song.

As we have come to expect, The Bad Plus’s treatment of these tunes is brilliant. They capture the melodies that we know and love and by the end of the song, turn them on their heads. Many of the songs use the melody as a starting point from which they break off into gloriously chaotic jazz grooves and jams, though they usually return to the melody by the end of the song. It’s astounding how they can recreate well-known songs, effortlessly translating them to the jazz trio format and turning them inside out in a manner that never feels forced, but instead, is immensely fascinating and endlessly entertaining. Hopefully, on future recordings they will continue to use a vocalist because it has expanded the possibilities and reaches of their sound and it has helped them turn in the best record of their career full of great ones. Though some elitists might not consider them to be jazz, there really is no other genre that could contain them. They bring an infectious energy and a bold creativity to their craft of which many other artists could only dream.  Much like other jazz musicians, The Bad Plus have mastered the range of sound from the quiet whisper to the noisy chaos and everything in between and after getting lost in the hazy tunes on For All I Care, it is clear that The Bad Plus is a great jazz trio at the peak of their powers.

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“Comfortably Numb” mp3

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“Lithium” performed live by The Bad Plus with Wendy Lewis

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The Bad Plus
For All I Care
Do the Math, 2009
Rating: 4.0/5.0

Heartless Bastards: “The Mountain”

I have no idea if Erika Wennerstrom is, indeed, a heartless bastard– however, I have no problem saying that Heartless Bastards is Erika Wennerstrom. After parting ways with her former band mates and leaving behind her native Ohio for Texas she has emerged with a new incarnation of the band she started several years ago. Along the way, she’s picked up a new bassist and drummer who perfectly support her rugged, powerful voice and her guitar which is as big and frightening as Large Marge’s eighteen-wheeler. She’s also soaked up some of the signature instruments of her new home. The Mountain, Heartless Bastards’ third album, features some sharp fiddles,  laid back banjos, and sleepy slide guitars which aid in moving this band’s garage rock into the roadhouse.

Wennerstrom’s voice is the the most compelling piece of the puzzle here. She sings almost like a younger, smoother Lucinda Williams while at the same time picking up a little of the twang perfected by Texans Jolie Holland and Bosque Brown’s Mara Lee Miller. Her delivery is at times rugged, emotional, and nuanced– in other words, anything but heartless. “When you see there’ smoke there’s fire,” she sings over a thick, chugging guitar progression and it’s slippery cousin, the pedal steel– the phrase packs an unexpected punch, and the entire song shines brightly. At times, she’s even funny: on “Could Be So Happy” she waxes, “I could be so sweet if I just quit being sour” before letting out a nice Nebraska-era-Springsteen-shout to punctuate the chorus.

Her guitar roars and thunders through the record though it’s domination is broken up by a handful of intimate acoustic numbers that are peppered throughout. They serve as more than mere palette cleansers as they help to demonstrate the affect geography can have on music. Furthermore, the noticeable absence of her electric guitar’s roar helps us more clearly hear it’s power. She indulges a few of her folkier longings and the record flows better and offers more variety as a result. One of the best moments on the record is in the seven-and-a-half-minute acoustic song, “Had to Go.” Near the end of the song, after the singing is done, the guitar and banjo continue to strum and pluck along peacefully while a violin comes to the forefront to openly wrestle with it’s demons– the song has a dramatic, though welcoming, O, Brother Where Art Thou? kind of feel. The fact that it is immediately followed by a Neil Young inspired rocker called “Witchypoo,” only highlights the range of flavors that are found on The Mountain.

The Mountain fits like a well-worn flannel shirt and brings to mind the cracking of pool balls, the smells of beef and beer, and the dull glow of neon signs– all the familiar sights and sounds of a Texan barroom. There are some fairly high peaks on The Mountain particularly in the title track, “I Could Be So Happy,” “Wide Awake,” and “Had to Go,” though, in truth, there isn’t a bad or dull track in the bunch. The Mountain is a fine new twist for Heartless Bastards as they have managed to change states, change rhythm sections, and slightly modify their sound without losing any of the power or their garage-crafted sound– instead, they have expanded sonically, adding a country-western edge to the rip-roaring muscle found in Wennerstrom’s guitar and voice.

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“The Mountain” mp3.

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Heartless Bastards
The Mountain
Fat Possum, 2009
Rating: 4.0/5.0

Dan Auerbach: “Keep It Hid”

Novelist Stephen King has written about his habit of writing a few short stories after finishing each novel. He has found it a helpful way to cleanse the palate and prime the proverbial pump for future work. After several decent short stories accumulate, he often publishes them as a collection and it’s always fascinating to see how the stories rub against each other–how some align and others clash. The Black Keys’ guitarist/singer Dan Auerbach’s solo debut, Keep It Hid, works much the same way. After building his own studio in his hometown of Akron, Auerbach has been recording songs on his own for the past few years between tours and during downtime. Like a true artist, he has claimed that recording is a bit of an obsession, something he thinks about constantly. Hearing the quality of the songs on Keep It Hid certainly indicates that as well– Auerbach shows himself to be a master of understanding and inhabiting various genres that we haven’t heard from his blues-rock day job in the Black Keys.

As a result, Keep It Hid plays almost like a bar room jukebox churning through folky country, blusey stompers, and psychadelic rockers effortlessly. It is clear that these are styles that Auerbach loves and has been listening to for years and as a result the record sounds like a real labor of love– a statement of the love and joy of music from one Ohio musician. Auerbach plays many of the instruments here including guitars, organs, and some of the drums, though he has friends and family members joining in to sing and play as well. Despite a few ventures into other musical territories, the blues is never far from any of these songs– in fact, it is used as a touchstone for almost all the styles represented on Keep It Hid, giving a sense that this record is building on and expanding the work of The Black Keys.

Much like Stephen King’s short stories, the songs here have an interesting way of rubbing against one another. The record opens with a short gospel-tinged country song, “Trouble Weighs a Ton,” which features Auerbach’s uncle, James Quine, joining in for some good Southern harmonies. It’s such an unexpected move that it is a bit disarming at first, but it is really a solid song revealing the range and skill of it’s creator. This leads right into a slow-cooking fuzzy blues stew, “I Want Some More,” which falls into a dirty groove and churns with a messy mix of organs and guitars. “Whispered Words” is a song which Auerbach’s father helped write and Dan gives it a fantastic vocal performance utilizing his blusey yelp effectively over a repeating guitar riff until the song takes a sharp curve and turns into an all out jam as it fades away into the ether. “When the Night Comes” is another acoustic number  gently rolling along on a bed of synth-strings– it falls between the organ-drenched rocker, “Real Desire” and the Latin-blues of “Mean Monsoon” as a reminder that this ain’t a Black Keys record. At fourteen tracks and 50 minutes, the record might seem a bit long, but honestly I couldn’t pick a song to cut. I’d even keep the slow-burning Latin-surf-rock of “When I Left the Room” if for no other reason than that it would have been a great theme song for Vince Vega in Pulp Fiction.

The news of a Dan Auerbach solo record may have initially concerned some fans but they shouldn’t be worried about a possible break-up for The Black Keys–Auerbach doesn’t seem to be recording these songs as a way of getting away from Black Keys drummer, Patrick Carney, rather, he is simply wanting to paint using colors that wouldn’t benefit from Carney’s thunderous pounding. And so don’t be surprised that Keep It Hid lacks some of the raw ferocity and powerful pulse that Carney’s drums bring to The Black Keys records. These songs intentionally swim and chug along at a slower pace and they do so in a very alluring way, but most of them probably wouldn’t fit on the typical Black Keys record. Having said that, this may be the best batch of songs from Auerbach since the amazing one-two punch of Thickfreakness and Rubber Factory, making this essential listening indeed.

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“Trouble Weighs a Ton”

Also, Dan Auerbach is in the running for “Best Beard in Music,” though Ray LaMontagne is putting up quite a fight for that title.

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Dan Auerbach
Keep It Hid
Nonesuch, 2009
Rating: 4.0/5.0

J Dilla: “Donuts”

Three years ago today, the greatest hip-hop producer that you’ve never heard of, J Dilla, died of a rare, incurable blood disease. Three days prior, he celebrated his 32nd birthday and the release of his last completed work, Donuts. It is a record that was created partly in the studio and partly in the hospital bed in which J Dilla spent some of his final months on earth. Because he was primarily a producer, working behind the scenes with A Tribe Called Quest, Q-Tip, and a host of other artists, Donuts stands not only as his last will and testament but also as the best representation of what the hip-hop community lost at his passing.

Donuts is a non-stop, 44-minute medley of hip-hop beats and a wealth of samples that tell us a great deal about Jay Dee and the music that he loved. The record also functions as a love letter to his beloved hometown, Detroit, due to it’s heavy incorporation of Motown and soul samples. Many of the samples that J Dilla uses are taken from worn out vinyl records easily identified by the occasional crackle and hiss they elicit. This adds a intimately personal touch to the songs as if Jay Dee, himself, had been listening to these very records for years–and that is likely the case. The record flows along with strutting beats giving way to smooth grooves and guitar strings being replaced by violin strings only to find it all switching back the next moment.

Because of the tragically powerful circumstances surrounding it’s creation and Dilla’s immediate passing after it’s release, many friends and fans have declared that Donuts is rife with hidden messages from the dying artist. Obvious examples are found in the tracks titled “Don’t Cry” and “Bye.” The opener is “Donuts (Outro)” and the closer is “Donuts (Intro)” perhaps indicating Dilla looking backward through time at his short life. The fact that there are thirty-one tracks is often understood to represent J Dilla’s own belief that he wouldn’t live to see his 32nd birthday. Though the tracks flow quickly one to the next, they are all clearly distinct. The tracks are also surprisingly well-developed considering that only one song breaks two minutes. The short song lengths are another possible message, reminding us that J Dilla’s life is one that ended far too soon and this made all the more poignantly painful by the tendency of many tracks to abruptly cut off in the middle of a blowing trumpet or lyric. Yet, there is a lot of stylistic ground covered here and a lot of textures in these songs helping us remember that J Dilla’s life, though short, was indeed full, vibrant, and productive.

Donuts is nothing short of a immensely moving, hip-hop masterpiece. It is impossible to think about it as anything other than the final statement from a dying man–and this context makes for a nearly unbearable emotional weight by the time you arrive at the next to final track, “Last Donut of the Night,” which is among the most moving moments I’ve ever heard in music. Part of the genius behind this record lies in that it is such a moving and personal work during which it’s creator is silent, instead, he relies on samples to communicate on his behalf and to perfectly capture a particular mood and tone. This is what makes his sampling truly remarkable. Donuts is a compelling demonstration of J Dilla’s brilliance as a craftsman and it is also a potent argument (along with The Beastie Boys’ Paul’s Boutique, Beck’s Odelay, and the work of Steinski) that hip-hop sampling shouldn’t be ignored as a unique and affecting art form.

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Though the songs on Donuts certainly lose a little bit of their power when removed from their context, I’ve decided to features a few tracks below to illustrate points made in my review. If hip-hop samples are your thing then you really need to hear this record.

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“Dilla Says Go”

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“Walkinonit”

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“Hi.”

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“Last Donut of the Night”

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J Dilla
Donuts
Stones Throw, 2006
Rating: 4.5/5.0

WAVVES Update: Record release moved to March 17

I promised a review of the new WAVVES record this week (creatively titled WAVVVES), but in the past several weeks some changes have occurred which I wasn’t positive about until very recently. The sophomore WAVVES recording (which will be his first widely released record) will be released by Fat Possum instead of De Stijl. Also, the drop date has moved to St. Patty’s Day, March 17. So I’ll post my review then. While you’re waiting around for that, check out WAVVES’ brand of noisy pop-fuzz below.

“So Bored”

The Pains of Being Pure at Heart: “The Pains of Being Pure at Heart”

What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?—Rob Gordon, High Fidelity

It’s hard to argue with a good pop song. If the melody is catchy, the beat moves along, and the words are discernible and fun to sing, you really can’t ask for much more. Indie poppers, The Pains of Being Pure at Heart, have crafted a self-titled debut that is packed full of simple, sturdy pop songs. Though sometimes placed within the noise pop realm, they would really only fit into the very edge of that category at the far end of the pop side. However, there is certainly a lo-fi feel to the production and the heavily fuzzed out guitars probably warrant their inclusion in the noise pop sub-genre. Regardless, this record is simply a collection of ten semi-sad pop gems that have almost endless re-playability.

The record opens in the midst of guitar reverb on “Contender,” and the song unfolds with three layers of guitar: one is highly distorted and plays in tandem with an acoustic guitar while a third adds a few shimmering chords here and there. This is representative of their sound–underneath the distorted exterior there lies some gentle, melodic sensibilities. We are also introduced to Kip Berman’s lackadaisical, 1980s tenor and Peggy Wang-East’s occasional harmonies. The song feels like it is building to a climax which never arrives, making it feel like a natural lead-in to the rest of the album. “Come Saturday” features one of many sensational guitar hooks which rolls over a steady beat and “Young Adult Friction” is as infectious a melody as you’re likely to hear this year. Near the end of the record “Everything With You” joins the party to put in a bid for becoming a new indie pop classic.

Things vary slightly with a couple slower tracks as the record goes on, but a bit more tempo variation may have made for a more diverse recording. Also, at just under 35 minutes, the record feels a bit short (which is always to be preferred over a bit too long). However, these  aspects may also work as some of the record’s strengths. By stacking the album with ten relatively short upbeat songs, the record has an energetic, youthful feel which is quite appealing. Almost every cut feels like an instant classic on the first listen, and several songs sound like they just arrived in a Flux Capacitor-equipped Delorean from the 1980s thanks to the vocal echos, the fuzzy guitars, and Peggy’s keyboards.

The Pains of Being Pure at Heart have been clearly influenced by the short career of Black Tambourine, the melodic, fast-paced songs of the Ramones, and the occasionally jangly guitars smack of R.E.M.’s first two albums, yet, they have managed to make a solid debut that is all their own. The songs are about love and un-love and this melancholic strain basically follows them throughout all the songs. However, it certainly isn’t a mopey downer. The bright melodies contrast with the sad words in a way that makes it sound like the thousands of great pop songs you’ve heard growing up. Here is a record that won’t change your life or help you better understand love, but it is a supremely fun, energetic set of heartfelt pop songs and sometimes that can be one of the greatest things in the world.

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“Contender”

“Everything With You”

The Pains of Being Pure at Heart
The Pains of Being Pure at Heart
Slumberland Records, 2009
Rating: 4.0/5.0

Melinda Doolittle: “Coming Back to You”

Even before America voted in 2007, it was clear that Melinda Doolittle was not the typical American Idol contestant. First of all, the season six participant had previously worked as a professional back-up singer for several notable acts before auditioning in front of Randy, Simon, and Paula. Also, after sailing easily into the top twelve, it became clear that Doolittle was the most humble person ever to be sandwiched between the egos of host, Ryan Seacrest and judge, Simon Cowell. After nearly every stunning performance, the audience cheered, the judges heaped praises upon her, and I sat on my couch predicting an easy victory–but Doolittle would give a sheepish “Aw, shucks” grin and look down at her shoes. Many accused her of faking it as a way to win votes, but I believe it was genuine–after all, Doolittle considers herself a Tennessean and we’re good people.

However, Melinda Doolittle (who shockingly placed third in the competition, losing to Blake Lewis and eventual winner, Jordin Sparks) never seemed shy or unsure while she sang–that is when she was at her most comfortable–she had a great presence and a fantastic set of pipes. So it comes as no surprise that Doolittle’s debut recording, Coming Back to You, is a strong Rhythm and Blues outing. Much like she did on the show, Doolittle sounds like a veteran on these songs. She effortlessly channels Aretha Franklin, Gladys Knight, and Tina Turner while still managing to maintain her own unique sound. Doolittle sings powerful soul over live instruments which boast solid grooves and full arrangements. Punchy organs and bright horns add a retro Motown vibe to these songs while Doolittle’s voice simultaneously adds some Southern gospel flavor and keeps the record in the present day.

What immediately sets Doolittle’s album apart from most of her Idol comrades is that it has more personality than half the recordings they’ve managed to produce. Herein lies the blessing of not winning American Idol in recent years. The winners are more or less controlled by American Idol forever, doomed to release bland pop (or get dropped from their contract like Taylor Hicks). Do you think last year’s winner, David Cook, would have made a record as crappy as the one he released last fall if he had gotten his own record contract and been free to do what he wanted? It’s very likely, he seemed like quite a unique, creative artist. (So stop watching that ridiculous show.)

Doolittle also avoids another American Idol pitfall by opting not to include any of the mediocre original material that her former companions seem so eager to put to tape. Instead, she elects to do an album full of covers and she makes some great choices which seem to be a reflection of her own tastes rather than a reflection of what might sell. She selects two cuts by blues-man Robert Johnson (“Dust My Broom” and “Walkin’ Blues”) as well as a couple songs from the 1950s while the rest are from the 90s and 2000s. The title track was originally performed by Macy Gray for the film Déjà Vu, but Doolittle made me believe it was written just for her, for this album. Though she uses songs by Celine Dion, Bonnie Raitt, and Aretha Franklin, she chooses some relatively obscure titles which allow her to make these songs her own. They sound fresh and for most listeners Doolittle’s rendition will be the first they’ve heard.

Melinda Doolittle’s voice is the key to this recording. At it’s gentlest, it pulls the listener in (“Wonder Why”) and at it’s most powerful it can blow the roof off (“Declaration of Love”). Such control and ability are what make her an artist worth following. The best thing that can be said of Melinda Doolittle is that she is a talented, sincere, hard-working artist and her debut record accurately captures all of that. But if you tried to tell her that, she would simply give that “Aw, shucks” grin and look down at her shoes–and it’s that charm that has helped her craft what is probably the best record to come from a former American Idol contestant.

Listen to several songs from Coming Back to You at Melinda Doolittle’s Myspace.

Melinda Doolittle
Coming Back to You
Hi Fi Recordings, 2009
Rating: 3.5/5.0

Stream Dan Auerbach’s “Keep It Hid”

Guitarist and singer of The Black Keys, Dan Auerbach, has a solo record coming out next week called Keep It Hid courtesy of Nonesuch Records. The entire record is streaming right now at his Myspace. It’s tons of fun, so I highly recommend you check it out. A review of it will be posted here next week.