Foo Fighters’ ‘Sonic Highways’ is a worthwhile trip
Foo Fighters
“Sonic Highways”
RCA Records
Twenty years into their career as one of the leading rock bands in the world, Foo Fighters continue to find ways to challenge both themselves and their listeners.
On “Sonic Highways,” a companion to the similarly named HBO television series, the Dave Grohl-fronted band, with assistance from producer Butch Vig, tasked itself with touching down in eight U.S. cities, exploring each town’s music history, and then writing and recording a song in that city influenced by what they discovered, often accompanied by a native son or daughter.
To its credit, the band avoids gimmickry. For example, in New Orleans, it recorded the mid-tempo “In the Clear” with the legendary Preservation Hall Jazz Band, but no one will mistake the tune for a typical Crescent City brass band parade. Instead, each city’s elements are incorporated into the Foo Fighters’ sound.
That’s not to say they didn’t find inventive ways to salute each locale. On the album’s best track, the thoughtful, driving “Congregation,” which features Zac Brown and was recorded at his Southern Ground studio in Nashville, the lyrics include “singing like a bluebird in the round,” a reference to famous songwriter venue Bluebird Cafe. On the aggressive power pop of “What Did I Do/God As My Witness,” recorded in Austin, Grohl brings up the 13th floor, an insider reference to the 13th Floor Elevators, the influential-yet-obscure Roky Erickson-led psychedelic ’60s band from the Texas town. Such little treats exist in almost every song.
What has always made Foo Fighters’ music so appealing is that for all the metal bombast and thrash, the noise rarely comes at the sacrifice of melody. That remains truer than ever on this very worthwhile trip through America’s musical wonderland. (AP)
Jazmine Sullivan wows on second album
Jazmine Sullivan
“Love Me Back”
(J Records)
Jazmine Sullivan’s sophomore disc, “Love Me Back,” is something amazing.
Sure, her first album was good, but what the 23-year-old powerhouse does on the second reveals a layer that her 2008 debut “Fearless” had only hinted at.
Her first two singles, the Missy Elliot-produced “Holding You Down (Goin’ in Circles)” and Salaam Remi-produced “10 Seconds” pay homage to around-the-way-girl predecessor Mary J. Blige by taking bits of her early songs. But while Sullivan has done a great job of playing Philly’s version of the faithful (and sometimes vengeful) ride-or-die chick, she is not boxed in by the role.
“He was a boss that I knew in Harlem/gave me my first taste but I had to go farther/I mean I had to go harder/I started calling up his crib just to get him/And I didn’t even care/I’d ask his wife if she was with him,” Sullivan sings over meandering piano on the solemn “Redemption.”
The story unfolds to reveal two things. First, Sullivan is singing not from the perspective of a mistress, but a drug fiend. And second, she’s a daring cowriter, belting her second verse from the viewpoint of an emotionally and physically abusive man.
Every lilt of Sullivan’s voice is a shot to the heart on the lovesick “Stuttering.” The emotive “Excuse Me” is another sweetly addictive ballad. Things are fun on the up-tempo Prince-influenced “Good Enough” and “Don’t Make Me Wait.” And the title track, “Love Me Back,” just might have everyone wondering, “How could we not?”
CHECK OUT THIS TRACK: “Love You Long Time” opens with a bluegrass harmony, bulks up with some marching band drumming, and only Sullivan could make it all work. (AP)
Meghan Trainor doo-wops to death on ‘Title’
Meghan Trainor
“Title”
(Epic)
There’s plenty to like about Meghan Trainor’s first full-length album, “Title.” The set, which includes music from a previously released EP of the same name, serves up all the doo-wop sass that hooked fans on the singer-songwriter’s Grammy-nominated hit, “All About That Bass.”
Jump to almost any track on “Title” and you’ll find a similar juxtaposition of cheeky lyrics stamped over malt shop-inspired production. Unfortunately, therein lies the problem: by album’s end, it seems Trainor and “Title” producer Kevin Kadish have beaten their brand of shooby-doo flavor to death.
Sure, the throwback vibe has worked to set Trainor, 21, apart from her radio competition, and the sound works on the second single “Lips Are Movin’” and “Dear Future Husband.” But too much of that good thing turns out to be bad for the singer’s mainstream debut.
“Title” is still worth a listen, though doing so in one sitting is ill-advised. Trainor is the funny girl-next-door on “Walkashame”; she’s an example of self-acceptance on “Close Your Eyes”; and she’s admirable refusing to be friend-zoned on the relatable title track.
When Trainor reaches, however, the results are painful. “Had him brushing his teeth, even flossin’/got him looking like Ryan Gosling,” she raps on “Credit.” The cringe-worthy lyrics are rivaled only by that on the horn-heavy “Bang Dem Sticks.”
Perhaps the most refreshing song from “Title” is the subdued “Like I’m Gonna Lose You,” featuring John Legend. Not only is it a nice change of pace sonically, but in a rare moment, the track gives Trainor’s vocals the main stage, without a catchy hook or quirky production yanking away the spotlight. (AP)
