Ben Harper and the Innocent Criminals
“Live From Mars” Virgin
Ben Harper and the Innocent Criminals “Live From
Mars” Virgin
Never has a concert been this cheap, enduring or universally
performed. Ben Harper and the Innocent Criminals’ latest
album, “Live From Mars” is the ticket to see Harper and
his perfectly matched band perform anytime and anywhere for less
than the price of a full tank of gas. Just as it can be played in
any setting, it was also recorded in a multitude of venues. This is
an interesting break from traditional live albums that, for the
most part, are recordings from a single concert. What it provides,
however, is an amazingly comprehensive musical sample of a rapidly
rising star’s work. The title, “Live From Mars,”
is an accurate description of the music it contains. Coming from
nowhere and everywhere, the music is transcendental in scope and
talent. The two-disc set is all inclusive and contains most of the
best works from all of Harper’s albums. Some of the better
renditions include favorites “Burn One Down,”
highlighting David Leach’s precise percussion work, and
“Steal My Kisses,” which features the awe-inspiring
human beat box creations of Nick Rich and Rahzel. But, regardless
of the talent of the Innocent Criminals, the band is Harper. His
voice defines the group, giving it direction and purpose. In
particular, his solos ring out with such power it’s a wonder
he is not preaching at a mass. But perhaps he is preaching, as
evidenced by his last solo “I’ll Rise,” which
features an inspirational call to the oppressed. Pleasantly, not
one of the songs is a perfect re-creation of its studio recording,
but instead each has a new sound that is more honest than the
original. No matter how brilliant these new recordings are,
Harper’s covers of classic songs are what give the album
it’s worth. New versions of Led Zeppelin’s “Whole
Lotta Love” and the Verve’s “The Drugs
Don’t Work” are both spectacular, but the propellant
behind this rocket trip is his cover of “Sexual
Healing.” Among Harper fans, the song is a perennial concert
landmark, and to have it finally released is a treat. By the time
the double album ends, it is sad to see Harper and friends depart
from the listener’s private living-room concert. Fear not;
there is always the repeat button to keep the experience alive
forever.
David Holmberg Rating: 9
Matthew Hart “Comet” Dig It
Productions
Bluegrass is a genre that has regained popularity in recent
months, mostly due to the platinum-selling “O Brother Where
Art Thou?” soundtrack, which brought the Depression-era
musical style back into the spotlight. The back-to-basics sounds of
acoustic instruments and multi-layer harmonies have once again
caught the attention of the American public. Matthew Hart, a
singer-songwriter when not working as a resident at the UCLA
Medical Center, draws from the bluegrass and folk genres on his
album “Comet.” However, they are overly complicated at
times with too many pop-country influences. Songs like
“Learning to Breathe” and “Waterloo” come
close to hitting the mark but are performed with too many
instruments which obscure an otherwise nice melody. The appeal of
the bluegrass and folk genres their simplicity. The tendency to
complicate what should be basic backup instruments seems to come
from modern country music. Many of it’s stars, such as Garth
Brooks, often succumb to musical excesses. One song afflicted by
this style, “The Gap is Wide,” starts off well, and for
the first minute is backed only by acoustic guitars. All too
soon, however, obtrusive viola and percussion counterparts pop up,
making it feel like just another country song. The viola, in fact,
is one instrument that should be completely abolished from the
album. It isn’t needed and its sound overpowers the
other instruments. Percussion elements are also overused. In
“Night Shift” the drums keep a slow but loud beat,
which is both unnecessary and annoying. As evidenced by early
bluegrass and folk genres, a song’s rhythm can be kept by the
tune itself, sometimes with the help of rhythm guitar, without an
intrusive drummer. Hart’s voice and melodies are often strong
enough to make the addition of too many other musical elements
excessive. He would be better off in the future sticking with his
well-executed harmonies and a few necessary instruments. It has
proven to be a well-received method in the past and still holds
popularity to this day.
Mary Williams Rating: 4
The Doobie Brothers “Sibling Rivalry”
Pyramid Records
It is always a pleasure to sit back and enjoy a good doobie,
especially if it is in the form of a new album from that legendary
rock ‘n’ roll band, the Doobie Brothers. For a band
that can easily be considered a signature of 1970s classic rock,
its newest album, “Sibling Rivalry,” is still able to
transcend time, making a relevant statement in the middle of
today’s pop explosion. Although the band has seen its
share of member changes, originals Tom Johnston and Pat Simmons
still root the group’s definitive style. Instead of trying to
conform to the pop audiences of today, the Doobie Brothers retain
the tight classic harmonizing and keenly placed violin
accompaniments that made them famous. The better songs on the album
focus on the band’s original sound, which hearkens back to
the days of old. While there are no undeniably pervasive hits like
“China Grove” or “Takin’ it to the
Streets,” several tracks make a considerable impact. Hearing
“Leave My Heartache Behind” is like a refreshing time
warp to an era when music was still reinventing itself. Indeed,
most of the songs written by Simmons and Johnston, including
“45th Floor” and “Jericho,” dish up exactly
what is expected of the Doobie Brothers. The album does suffer,
however, during some of the slower ballads. In particular,
“Ordinary Man,” with lines such as “Will you be
with me as I make my journey/Through the labyrinth of time,”
is forced and uncomfortably heavy in the rhythm department. The
time traveling also get a little bumpy with “Angels of
Madness,” which lacks the energy and personality with which
the rest of the songs overflow. The Doobie Brothers are ultimately
strongest in the rocking numbers that incorporate vocals, lyrics
and guitar work into an ebbing piece of late 1960s and 1970s
classic-country rock. It is a time tested and remarkable sound that
can be heard from no other band, validating it today as well.
Although the journey back in time with the Doobie Brothers’
latest album is not altogether a success, there are enough positive
attributes that make it worth the ride. So kick back, grab a
Doobie, and enjoy the trip.
David Holmberg Rating: 7