Jeff Buckley and Gary Lucas “Songs to No One
1991-1992″ Knitting Factory Records
Jeff Buckley had a beautiful voice. “Songs to No
One,” gives the world some of the earliest recorded documents
of that voice. Chronicling his work from 1991-1992 with former
Captain Beefheart guitarist Gary Lucas, “Songs”
includes previously altogether unreleased tracks as well as early
versions of Buckley staples “Grace” and “Mojo
Pin.” The quality of Buckley’s voice is already
becoming evident. His wails are incredibly emotive, and his still
developing range, at this point, is impressive. This album has some
really good music on it, and any Buckley fan would do well to pick
it up, but for the uninitiated, a better starting point would be
his seminal 1994 album, “Grace.” The music on
“Songs” is, for the most part, just Lucas’ guitar
and Buckley’s voice. They get out some experimental tracks
that sound like late night jam sessions, but the melodies are
generally pretty and the sound isn’t often too cacophonous.
The usual Buckley influences are here, perhaps a little heavier on
Zeppelin than his later work, and a little lighter on Eastern
inflections. The disc is sure to become essential for Buckley
aficionados and pleasant background music for everyone else.
-Anthony Bromberg
Tom Petty and the Heartbreakers “The Last
DJ” Warner Bros. Records
Ah, to be a cynical idealist. To have that innate sense of
individuality, to have creative talent, and to have walls put in
front of you from time to time must be a little frustrating. But in
the end it doesn’t have to squash every dream. Tom Petty has
weighty issues like these on his mind on his new long-player,
“The Last DJ.” The quality of the sound on this
collection is still indicative of the talent Petty has always had
at crafting poppier Bob Dylan songs; the comparison is highlighted
this time around by Petty’s increasingly gruff voice, and
disillusioned lyrics. The album is dedicated to “everyone who
loves music just a little bit more than money” and includes
plenty of economical rhetoric. Fortunately, Petty and his
Heartbreakers back this up with simple infectious hooks,
Petty’s melodic sneering, and an orchestra co-arranged by
L.A. wunderkind Jon Brion. There is much better Petty out there,
and while this isn’t a bad album, it’s not
top-form-groovy Petty. -Anthony Bromberg
The Apples in Stereo “Velocity of Sound”
SpinArt Records
Given their power-pop performance at Westwood Plaza last week,
there are semi-high expectations of The Apples in Stereo’s
new album, “Velocity of Sound,” which should more aptly
be dubbed “Wall of Sound.” Don’t be mistaken,
that’s not saying the Apples’ fourth full-length album
is particularly good, but it certainly isn’t bad. If
you’re inclined towards loud, raucous-driven chords and party
music, then by all means, get the “Velocity of Sound.”
For those not familiar with The Apples in Stereo, the band hails
from Colorado and are a pretty standard four piece setup ““
vocalist Robert Schneider, guitarist John Hill, bassist Eric Allen
and drummer Hilarie Sidney (yes, that’s a female drummer).
What is it about a woman and drums that’s so cool?
Don’t know, but it certainly gives the Apples 20 cool points.
Schneider’s distinctive helium-filled voice wails with angst
yet still delivers right on point to carry the band through this
fast-paced hour of fun. One gripe though, how much pop can a person
really tolerate? A couple of the tracks are good, but the thing is,
the Apples has already had three albums with a similar vibe to this
one. Take that for what it’s worth, but if you’ve never
experienced the Apples in Stereo, be sure to at least do yourself a
favor and check out an album, if not “Velocity of
Sound.” It’s not the band’s finest hour (like the
1999 “Her Wallpaper Reverie”) but it’s a good
album nonetheless. -Kenny Chang