Back to Metroland's Home Page!
 Columns & Opinions
   The Simple Life
   Comment
   Reckonings
   Opinion
   Letters
   Poetry
 News & Features
   Newsfront
   F.Y.I.
   Features
   Profile
 Dining
   This Week's Review
   The Dining Guide
   Leftovers
 Cinema & Video
   Weekly Reviews
   Picture This
   Clips
   The Movie Schedule
 Music
   Listen Here
   Live
   Recordings
   Noteworthy
   Clubs & Concerts
 Arts
   Theater
   Dance
   Art
   Classical
   Books
   Art Murmur
 Calendar
   Night & Day
   Event Listings
 Classifieds
   View Classified Ads
   Place a Classified Ad
 Personals
   Online Personals
   Place A Print Ad
 AccuWeather
 About Metroland
   Where We Are
   Who We Are
   What We Do
   Work For Us
   Place An Ad

Faith Street

Caitlin Cary
While You Weren’t Looking (Yep Roc)

With her full, rounded alto and the strong batch of songs on While You Weren’t Looking, Caitlin Cary proves that the precocious, bed-headed man-child known as Ryan Adams isn’t the only formidable talent to climb from the ruins of Whiskeytown. Waltzie, an EP released in 2000, certainly hinted at Cary’s greatness. But while that effort occupied a relatively narrow realm of gentle folk-rock (à la Richard and Linda Thompson), this debut full-length boasts a more varied and dynamic sonic terrain. For those, like me, sorely disappointed in Adams’ sophomore effort, Gold, this album is pure salve. More than that, however, While You Weren’t Looking is strong enough to shed the ghost of Whiskeytown and catapult Cary into a realm where any mention of Adams is simply gratuitous.

Cary’s angelic tones (which we heard too little of in Whiskeytown) and a bevy of talented collaborators spur this album to greatness. Joining Cary are former Whiskeytown guitarist Mike Daly, who cowrote most of the material; North Carolina jangle-pop legends Mitch Easter and Chris Stamey (who produced); Jen Gunderman of the Jayhawks; Cary’s husband, former Whiskeytown drummer Skillet Gilmore; and rising alt-country singer Thad Cockrell.

The album begins with the euphoric pop-off “Shallow Heart, Shallow Water” and “Please Don’t Hurry Your Heart” (cowritten with Adams), which is the kind of heartfelt alternative country-rock at which her former group excelled. “Pony” is a great approximation of Phil Spector-ish production, full of plush harmony vocals and such Brill Building ephemera as vibes and handclaps, while “Too Many Keys” is a rich slab of white soul. Cockrell joins Cary for a great vocal turn on the driving, country-tinged spine-tingler “Thick Walls Down.”

This album is folky and contemplative when it needs to be, yet it boasts enough rock, pop and country bite to keep things cruising delightfully. With While You Weren’t Looking, I’ve found one of my Top 10 CDs for 2002.

—Erik Hage


Norah Jones

Come Away With Me (Blue Note)

Like label-mate Cassandra Wilson, Norah Jones blurs genres, rendering blues with country licks, jazz with pop fillips, chanson with a smidgen of rock & roll. Only 22, she’s a contemporary of Britney Spears and Alicia Keys. But Jones is far more adult, thanks to her sugar-cured voice and her spare, resonant piano. On Come Away With Me, the assured, patient delivery of this Brooklyn-born, Dallas-bred chanteuse gives unexpected authority to Hank Williams’ “Cold Cold Heart,” John D. Loudermilk’s funky “Turn Me On” and Hoagy Carmichael’s wispy “The Nearness of You.” But authority isn’t what makes Jones’ velvety debut so mesmerizing: It’s originals like the come-hither title track, the ravishing, gypsy ballad “I’ve Got to See You Again” (which blends Paris, France, and Paris, Texas) and “Lonestar,” a haunting tune ideal for a distant, sexy radio signal. Produced by Arif Mardin (Laura Nyro, the Bee Gees at their disco best), with a few tracks glossed by early Cassandra Wilson producer Craig Street, Come Away With Me is a keeper. Whether it’s jazz or pop doesn’t matter. What will matter to Jones in the future is the disc’s sole error: It’s all midtempo. In all other respects, Come Away With Me is an invitation you can’t turn down.

—Carlo Wolff


The Turtles

Anthology: Solid Zinc (Rhino)

The 51 songs on Anthology: Solid Zinc chart the surprisingly broad and resilient career of the Turtles. Their earliest forays touched on folk rock and even protest music, as well as straight-ahead garage rock (“Almost There”). Fronted by two unlikely pop stars, the portly duo of Howard Kaylan and Mark Volman, the Turtles found continuing fame throughout the ’70s, singing as Flo & Eddie (most notably with Frank Zappa). They first charted with Bob Dylan’s “It Ain’t Me Babe”; subsequently, most of their hits were penned by a range of songwriters found in the Los Angeles area during the mid- to late-’60s, including P.F. Sloan, Harry Nilsson, Warren Zevon and folksinger Judy Sill. Solid Zinc shows Kaylan’s and Volman’s strengths as writers as well: “Wanderin’ Kind” stands solidly next to Gene Clark’s lasting Byrds songs, and “Love in the City” would have been at home on the Zombies’ Odessey & Oracle.

After the commercial peak of “Happy Together,” the Turtles took ever-more-interesting turns. Pressures mounted from their label to turn in a continued stream of friendly radio fare, one result being their own “Elenore”—which made the Top 10 with the delightfully flippant line “You’re my pride and joy, et cetera.” The band’s last few albums are mature works, with strong material and inventive arrangements; they even enlisted Kinks leader Ray Davies to produce Turtle Soup. This two-disc anthology is a generous portrait of a band who deserve to be celebrated for more than just their handful of hit songs.

—David Greenberger


Jocamo
You Know That It’s True (Pimp Gator)

Jocamo’s first record is a feast o’ big-foot funk, as true to its target as a smart bomb. Every single thing is in the right place, from the Curtis Mayfield chimey and chink-a guitars, to the call-and-response vocals, to the deep, deep grooves that hold the whole soulful thing together.

You Know That It’s True is vaguely ’70s-oriented, in the way Funkadelic is—that is to say, you hear it, you recognize it, but the notion of “retro” doesn’t come into play. There’s also a punchy second-line Mardi Gras cop on “Here Come Jocamo” that’s just pure Nevilles, absolutely in the pocket. This is an incendiary record; every song will light up the room. Really.

Dave Macks’ big, brassy voice is the centerpiece. He’ll slap me silly for saying this, but his vocal work here is pure art—when he sings, he flat-out sings; when he croons, he croons. And the real treats are the throw-away grunts, the James Brown-like “Heh!” noises and the ad hominem asides that keep pouring out of him as naturally as sweat. His lyrics are of human street scenes, goofy romantic imbroglios and inspirational party chants, and they are true and fun and proud.

The playing is superb and gritty, by Jocamo members Macks, drummer John Lapi and guitarist Matt Hatfield, as well as a pile of guesting local luminaries. To quote Rocky the Flying Squirrel: “Here’s something I think we all can enjoy!”

—Paul Rapp


Send A Letter to Our Editor
Back Home
   
Find Music on eBay!
What's the Point of paying MORE for your domain?
3 CD's for $9.99
0106_113E
Top Hits at Tower!
Cheap Books, DVDs, Cds at eBay's Half.com
 
Copyright © 2002 Lou Communications, Inc., 4 Central Ave., Albany, NY 12210. All rights reserved.