'WE WERE DEAD BEFORE THE SHIP EVEN SANK'
'WE WERE DEAD BEFORE THE SHIP EVEN SANK'
Modest Mouse (Epic)
Grade: C-
With quaint titles, moaning lyrics and an overall slow twitchiness as its sonic calling card, Modest Mouse has become a brand whose principle product is a yawn. "Fourteen years of yawp" could be Mouse CEO Issac Brock's motto.
But a good number of people find this their favorite cup of tedium. Mouse's ruminations are exquisite in their enervation. Not since Morrissey has repudiation sounded as sexy as it does through the sashaying "Missed the Boat." Maybe that's why Brock recruited Moz's ex, former Smiths guitarist Johnny Marr, for this CD.
Then again, Marr's inclusion could be to lend shockingly rousing anthems "We've Got Everything" and "Steam Engenius" an additional six-string sting. Those tunes (and the growling "March Into the Sea") are exceptions to Brock's rueful stance.
Even Marr can't help the dullard's parade that is "Fire It Up" or much else on this floridly titled record.
Of course, if you're listening to Modest Mouse, you're not looking to be aroused.
-- A.D. Amorosi, Philadelphia Inquirer
'HEARTBREAKER'S HALL OF FAME'
Sunny Sweeney (Big Machine)
Grade: A-
Three tracks in, newcomer Sunny Sweeney delivers a kind of anti-boast, claiming that she's going to be the "Next Big Nothing." After hearing this young Texan's terrific debut, fans may disagree.
It all starts with the voice, a twangy drawl that cuts through the equally bracing music with razor-wire sharpness and can convey both ache and attitude. That range -- from battle-scarred experience to youthful confidence -- can be heard right off the bat, as the wounded lover of the opener, "Refresh My Memory," segues into the brash rocker of "East Texas Pines." Sweeney's originals, like the title cut with its memorable imagery, stand up well next to contributions by Iris DeMent, Tim Carroll and Jim Lauderdale, who also duets with Sweeney on Keith Sykes' "Lavender Blue." Prepare to be transported to honky-tonk heaven.
-- Nick Cristiano, Philadelphia Inquirer
'IN THE MOMENT'
Bob Mintzer (Art of Life Records)
Grade: B
Bob Mintzer, whose reed work typically embellishes a big band or the celebrated soul-jazz crossover group known as the Yellowjackets, indulges here in a rare, straight-ahead quartet outing.
An ace on tenor saxophone and bass clarinet, Mintzer was influenced by Michael Brecker and has long played with such big bands as the Mel Lewis/Thad Jones Orchestra.
This set with pianist Phil Markowitz, bassist Jay Anderson, and drummer John Riley has some autopilot qualities. The quartet sounds reasonably good, though not passionate, perched in its comfort zone on such bright, listenable originals as the leader's "Play Pretty."
For more hot pepper, turn to the group's take of Eddie Harris' soul-jazz standard "Listen Here" and the smoky ballad "Time After Time."
Mintzer really lets the bear out on his "Blues" as he roots around in the bass clarinet's lower regions, goofin' with the traditional form and stretching it harmonically to see where it can go. Now that works just fine.
-- Karl Stark, Philadelphia Inquirer
'RICKY SKAGGS AND BRUCE HORNSBY'
Ricky Skaggs and Bruce Hornsby (Legacy Recordings)
Grade: D
This project begged for an outside producer, who might have told Ricky Skaggs and Bruce Hornsby the following:
"Boys, using a piano in bluegrass is a great idea, but you're turning this into a squandered opportunity. You start with one silly song ('The Dreaded Spoon') and end with another (Rick James' 'Super Freak'). It's like you're not taking this project seriously.
"That tune Bruce did in the '80s on 'Will The Circle Be Unbroken II' was wonderful, but there's nothing here to match that. In fact, the only keeper is Bruce's new tune, 'Crown Of Jewels.' Now that's a gem, with the only piano break worth hearing twice, and a cool coda, too.
"As for the rest: Start over. How come the piano is buried in these dense arrangements, with hardly any solos? Bruce, you've got the chops -- and then some -- to keep up with Ricky and his band. So give us 32 bars of McCoy Tyner-meets-Bill Monroe every song, son, or we're taking your name off the cover.
"The singing is a problem, too. Where are the duets? Your voices sound so much alike -- we can have some fun with that. Let's put you both on the same mike, because right now it's like you're performing in different zip codes. There's no chemistry.
"Pairing you two up was a great idea, but it would be a shame to release this thing the way it is."
-- Steven Wine, Associated Press