record reviews

October 17, 2010 at 12:00a.m.

GUCCI MANE

Album: “The Appeal: Georgia’s Most Wanted”

Grade: B

Who says spending is down? Not Gucci Mane, who titled a recent mix tape “Jewelry Selection” and whose “Brand New” is a shopping-spree standout from his third studio album. At a time when hip-hop has been forced to address working-class plight (see Freddie Gibbs, Big K.R.I.T. and DaVinci), Gucci can’t stop celebrating. And why not? A year ago, the Atlanta rapper was headed to jail for parole violation. While incarcerated and shortly after his release in May, Gucci made up for lost time with a stream of excellent mix tapes. The Appeal continues that playfulness while evolving: a Justice sample on “Gucci Time,” words for mama on “Grown Man.” It’s the right amount of perspective, and effort, for a project that makes it all look so simple.

— Michael Pollock, Philadelphia Inquirer

MAROON 5

Album: “Hands All Over”

Grade: C

When shining pop’s most pliable blue-eyed-soul band, Maroon 5, hired hair-rock’s glossiest producer, Mutt Lange, questions arose. How much sugar would Mutt throw at M5? How would high and supple crooner Adam Levine look as a god of thunder?

Shockingly (gratefully), Lange yanked away most of the band’s occasional lame-o rock proclivities (save for the megawatt title tune) and did the tighten-up, accentuating M5’s positively crisp grooves, making sinewy soul songs such as “Give a Little More” mean, blunt and funky. Levine’s voice is lifted to dramatic yet subtle heights on the moody wedding song “Misery” and the nervy “Runaway.” Lange’s chilly mix could’ve done with a thaw on the icy, doo-wop flavored “I Can’t Lie,” but the weird, slow-burning country of “Out of Goodbyes” (with Lady Antebellum) warms up the proceedings nicely. Surprise.

— A.D. Amorosi, Philadelphia Inquirer

CORIN TUCKER BAND

Album: “1,000 Years”

Grade: C

In her role as singer for the influential rock group Sleater-Kinney, Corin Tucker brought a much-needed dose of feminism to the world’s most exclusive boys’ club: indie rock.

Now, four years after Sleater-Kinney officially went on hiatus, Tucker has returned with “1,000 Years,” an album that, despite a handful of genuine highlights, fails to meet the high expectations set by her previous work.

While the effective rockers “Doubt” and “Riley” raise the album’s blood pressure, it’s the hazy, druggy title track that really sets the album’s style. “1,000 Years” showcases a more restrained, subdued Tucker; on tracks such as “Handed Love” and “Dragon,” she sounds positively sedate.

While that approach could have yielded interesting results, “1,000 Years” soon wears out its welcome. Such numbers as the Breeders-inspired “Big Goodbye” and the punky lead single “Doubt” provide some brief thrills, but overall, this girl could have used a riot or two.

— Emily Tartanella, Philadelphia Inquirer

ANTONY & THE JOHNSONS

Album: “Swanlights”

Grade: A-

In “Swanlights” (Secretly Canadian), Antony Hegarty bridges the gap between his raw, stunning breakthrough “I Am a Bird Now” and the lush follow-up “The Crying Light.”

That’s not to say Hegarty is reining in his ambitions. He establishes the musical theme of “everything is new” early, chanting it initially in “Everything Is New,” acknowledging the feeling without going into details. By the time he reaches the epic “Christina’s Farm,” he can outline the reasons he is seeking a rebirth and how he knows he has achieved it.

While the overarching connection adds another level to “Swanlights,” Hegarty and The Johnsons know they are most effective when his distinctive, tremulous voice is least adorned, so the streamlined soul of “Thank You for Your Love,” where he seemingly creates the happy ending to his wrenching trademark “Fistful of Love,” is relentlessly spare. He sounds like he’s about to burst with joy in “I’m in Love,” with the minimalist orchestration and the looped synth riff only showcasing his excitement that much more. On the beautiful “Fletta,” Hegarty’s vocals flit and float like airborne ballerinas over gorgeous string arrangements and booming horns. Then, just when it doesn’t seem like it could get any more beautiful, Bjork drops in to take it to another level.

— Glenn Gamboa, Long Island Newsday

FAR EAST MOVEMENT

Album: “Free Wired”

Grade: B+

Far East Movement, the first Asian-American hip-hop group to scale the pop charts, succeeds because its smash single “Like a G6” fits in so well that no one gives the band members’ race a second thought. That will continue with their debut “Free Wired” (Cherry tree/ Interscope), and the flurry of hits sure to follow. While “G6” sounds like M.I.A. crossed with Ke$ha, “Girls on the Dance Floor” could have come from the Black Eyed Peas, and “Rocketeer” could have come from Kanye West’s crew.

— Glenn Gamboa, Long Island Newsday

NO AGE

Album: “Everything In Between”

Grade: B+

Contrary to lingering descriptions of the band and their record, downtown LA rock duo No Age’s third album is stellar: initially appealing, better on repeat. Adjectives such as lo-fi and noise-rock remain problematic when talking about No Age. Too many read them as implying inherent inferiority, either because the artist doesn’t know any better or is pretentiously making music that lacks artistic control, that might collapse into cacophonous chaos. No Age has operated beyond any of this for some time.

Drummer/vocalist Dean Spunt and tone-savvy guitarist Randy Randall offer more catchy tracks, with poppy beats/melodies that sound fuzzed-up to spec. Ramones-like urgency and splashes of superior My Bloody Valentine haze are peppered with innovative riffs recalling Sonic Youth at its most innovative — the dudes are doing precisely what they wanna. Radness results.

— David R. Stampone, Philadelphia Inquirer