24.com : Music
CD review
Diana Ross
I Love You
Label: EMI
We gave it: *****
When it comes to syrupy songs about love, nice is a four-letter word. Is it possible for anyone to ever be "loved out"?
If you’re indulging this mediocre compilation more than a few times a week, you are strongly advised to invest in a vigorous bungee jump to shake yourself free. This many songs about love is not about love; it’s about obsession.
Although, from the steely seduction of her nipped and tucked gaze, you’d never suspect that Diana is working you over; not after all this time.
The dame is, admittedly, a professional; she’s got schmoozing down to a fine art. With all due respect, you can’t really fault the divine diva. Unless over-produced, perfectly balanced melodies constitute a crime. And they don’t, do they? They simply ensure top forty hits and high retail turnover.
She certainly makes glitz and glamour work for her. The indisputable celeb status that first grabs a listener's attention quickly gives way to sentimentality in the romantic riffs. Drifting from swing to soul like a well-worn metronome, her voice tugs at nostalgia whether or not there really are memories to justify its coquettish, velvet moments.
Although, from the steely seduction of her nipped and tucked gaze, you’d never suspect that Diana is working you over; not after all this time.
The dame is, admittedly, a professional; she’s got schmoozing down to a fine art. With all due respect, you can’t really fault the divine diva. Unless over-produced, perfectly balanced melodies constitute a crime. And they don’t, do they? They simply ensure top forty hits and high retail turnover.
She certainly makes glitz and glamour work for her. The indisputable celeb status that first grabs a listener's attention quickly gives way to sentimentality in the romantic riffs. Drifting from swing to soul like a well-worn metronome, her voice tugs at nostalgia whether or not there really are memories to justify its coquettish, velvet moments.
The lyrics will not stand up to critical analysis, unless it’s for the purposes of profiling a recovering codependent.
With a frighteningly professional precision, the gilted, crystalline chords ooze a highly stylized charm that instantly explains why she’ s so popular decades on from her (well hidden) prime. If youth be the elixir of fame and fortune, she’s figured out the formula: her voice remains untarnished by time.
With time, though, comes change; and her themes haven’t changed since before Botox, which is the problem with this album. Even the smooth seduction of her honeyed vocals cannot gloss over soppy Hollywood clichés to adequately justify the number of times Mz Ross loves to use the word “Love” or reminds the listener to remember. The lyrics will not stand up to critical analysis, unless it’s for the purposes of profiling a recovering codependent.
In a twist of irony, time is perhaps the only thing on this album’s side, because this easy compilation of Hollywood harmonies coincides perfectly with the most postured of February’s public celebrations.
If you must give it to someone this Valentine’s Day, give it to your Gogo. It’s nice. And make sure you waltz with her to it. That’ll no doubt give Ross’s enduring gentleness and manicured joy a five out of five.
- Jess Henson
Keith Urban
Love, Pain & The Whole Crazy Thing
Label: Gallo 2007
We gave it: *****
Whether narcs or Nicole put his pretty face on the map, humility and honesty will keep this star rocking. This album demonstrates how surface beauty creates prejudice and musical beauty changes minds. At first, its big-budget, fashion-shoot cover design and easy-listening honky sounds got it a rating of two. But beyond a slick veneer, the album reveals depth.
With a string of hits, and recognition as a home-grown southern star behind him, the Aussie co-produced this album alongside the respected Dann Huff. The result is an easy listening, soft-core country compilation that leaves no tone unstirred. The musically solved, more-pop-than-rock tracks cover a range of emotion in a finely composed, heartfelt onslaught of "Love, Pain and the Whole Crazy Thing". His records aim at having "an ebb and flow, that you can listen to from top to bottom and that take you on a journey." This one hits home, and for a foreign lad, home is where the heart is.
His textured and emotional voice tempered by economical grunts and growls are sure to get the girls going. Happy hoops and almost indigenous warbles keep the sounds crisply country. Keith's rich voice could carry him into the hit list by itself, but constant accompaniment of near-symphonic instrumentals tends to tire – pace yourself. Four tracks at a time is tops for optimum enjoyment. ‘Shine’ is a winner; a hopeful ballad about triumph of love sung with a broken but unsullied heart. Its self-deprecation avoids self-involvement in a touching and definitively Urban manner.
Being a country fan I firmly believe Keith Urban is going places. Do not do him an injustice by calling him Mr Kidman. His has made a name for himself, he does not need her for that, although they do compliment each other. I think I will definatly be buying more of KU cds and I have already ordered his live DVD. Love him.
Last Rounds: Acoustic Coke
We’re looking forward to the next catharsis.
- Jess Henson
Fokof fans can expect new CDs from Francois’ Van Coke Cartel (with Fokof bassist Wynand) and Laudo’s The King (with Fokof’s Hunter and Snake) before the end of the year.
With time, though, comes change; and her themes haven’t changed since before Botox, which is the problem with this album. Even the smooth seduction of her honeyed vocals cannot gloss over soppy Hollywood clichés to adequately justify the number of times Mz Ross loves to use the word “Love” or reminds the listener to remember. The lyrics will not stand up to critical analysis, unless it’s for the purposes of profiling a recovering codependent.
In a twist of irony, time is perhaps the only thing on this album’s side, because this easy compilation of Hollywood harmonies coincides perfectly with the most postured of February’s public celebrations.
If you must give it to someone this Valentine’s Day, give it to your Gogo. It’s nice. And make sure you waltz with her to it. That’ll no doubt give Ross’s enduring gentleness and manicured joy a five out of five.
- Jess Henson
CD review
Keith Urban
Love, Pain & The Whole Crazy Thing
Label: Gallo 2007
We gave it: *****
Whether narcs or Nicole put his pretty face on the map, humility and honesty will keep this star rocking. This album demonstrates how surface beauty creates prejudice and musical beauty changes minds. At first, its big-budget, fashion-shoot cover design and easy-listening honky sounds got it a rating of two. But beyond a slick veneer, the album reveals depth.
With a string of hits, and recognition as a home-grown southern star behind him, the Aussie co-produced this album alongside the respected Dann Huff. The result is an easy listening, soft-core country compilation that leaves no tone unstirred. The musically solved, more-pop-than-rock tracks cover a range of emotion in a finely composed, heartfelt onslaught of "Love, Pain and the Whole Crazy Thing". His records aim at having "an ebb and flow, that you can listen to from top to bottom and that take you on a journey." This one hits home, and for a foreign lad, home is where the heart is.
His textured and emotional voice tempered by economical grunts and growls are sure to get the girls going. Happy hoops and almost indigenous warbles keep the sounds crisply country. Keith's rich voice could carry him into the hit list by itself, but constant accompaniment of near-symphonic instrumentals tends to tire – pace yourself. Four tracks at a time is tops for optimum enjoyment. ‘Shine’ is a winner; a hopeful ballad about triumph of love sung with a broken but unsullied heart. Its self-deprecation avoids self-involvement in a touching and definitively Urban manner.
...music has no nationality, and country has no borders
He's no dumb blonde, either. While generally qualifying in places as (choice) chocolate box sentiment, his lyrics are startling in their insightful perceptions of simple truths and beauties. "I love your pretty eyes and the lies they never tell" is a compliment waiting to happen. "When God made woman / He must've been proud / Yeah He must’ve been cryin’ or laughin out loud" refrains from being overly romantic, and "It gets better everyday once you get used to the pain" offers comfort without illusions.
This pretty Aussie’s southern twang and penchant for Spanish sampling is proof that music has no nationality, and Country has no borders. Hollywood must be rubbing off on Mr. Kidman in the right way; he’s creating great movie music. It’s a good soundtrack for the more whimsical takes in your personal romantic drama.
- Jess Henson
This pretty Aussie’s southern twang and penchant for Spanish sampling is proof that music has no nationality, and Country has no borders. Hollywood must be rubbing off on Mr. Kidman in the right way; he’s creating great movie music. It’s a good soundtrack for the more whimsical takes in your personal romantic drama.
- Jess Henson
1
Vanessa Echardt says: Keith Urban rocksBeing a country fan I firmly believe Keith Urban is going places. Do not do him an injustice by calling him Mr Kidman. His has made a name for himself, he does not need her for that, although they do compliment each other. I think I will definatly be buying more of KU cds and I have already ordered his live DVD. Love him.
Gig Review
Last Rounds: Acoustic Coke
There was more angst than charisma in the air on the night of Francois Van Coke’s last ever sit-down ‘solo’ acoustic set with guitarist Laudo Liebenberg. Was it growing pains? Well, Fokofpolisiekar’s sabbatical has offered new collaboration opportunities to its members. This gig in the intimate embrace of the Dorpstraat Theatre in Stellenbosch proved a whipping by candlelight.
Watch the video broadband high and broadband medium
Lead guitarist Laudo Liebenberg opened with his careful chord phrasing and bluesy baritone. Then Van Coke took over, and we were silently overcome. Being “relieved” that this is your last acoustic gig is no excuse for leaving an audience hanging halfway through a song though. Still, it doesn’t matter how many times Francois vloeks and say he doesn’t care. The sincerity is in his singing, strumming and yes, lyrics. His differential rock ‘n roll sounds best stripped down to tensile vocals backed by a pair of terse acoustic guitars. Grizzly Afrikaans consonants and platteland vowels set against full strings conjure up the relief of open spaces and the restriction of tightly cramped feelings. Sure, the songs are anthems because they’re well written, but also because they’re honest.
Lead guitarist Laudo Liebenberg opened with his careful chord phrasing and bluesy baritone. Then Van Coke took over, and we were silently overcome. Being “relieved” that this is your last acoustic gig is no excuse for leaving an audience hanging halfway through a song though. Still, it doesn’t matter how many times Francois vloeks and say he doesn’t care. The sincerity is in his singing, strumming and yes, lyrics. His differential rock ‘n roll sounds best stripped down to tensile vocals backed by a pair of terse acoustic guitars. Grizzly Afrikaans consonants and platteland vowels set against full strings conjure up the relief of open spaces and the restriction of tightly cramped feelings. Sure, the songs are anthems because they’re well written, but also because they’re honest.
Grizzly Afrikaans consonants and platteland vowels set against full strings conjure up the relief of open spaces and the restriction of tightly cramped feelings
Hey, the testimony of a disaffected - yet still impassioned - Afrikaans youth is important. Francois is an articulate voice of an emerging subculture that brings buried tensions to the surface. “This is the Bob Dylan of the Afrikaans youth,” a listener whispered while the audience sang along. But while Dylan was booed by thousands the first time he picked up an electric guitar, it seems this audience is aching for something harder and Francois is happy to oblige.We’re looking forward to the next catharsis.
- Jess Henson
Fokof fans can expect new CDs from Francois’ Van Coke Cartel (with Fokof bassist Wynand) and Laudo’s The King (with Fokof’s Hunter and Snake) before the end of the year.
Published on www.24.com (April 2007)
Read the original posting here
Kylie - Showgirl Homecoming
Label: EMI
We gave it:
*****
No longer the girl next door, Kylie’s come a long way from the days of Neighbours, changed (costume) many times, and is now a household name in showbiz.
Showgirl is a live recording of the tour’s opening night in Sydney that translates into a retrospective album. It proves that there was life before Britney, and that Kylie’s American contemporary, the Queen of Pop, had some competition on the way, after all. Or at least some influence.
Kylie’s career began in the eighties, survived the nineties, and continues on into the naughties with increasingly fewer clothes to cover for her marginal talent as a singer. But the Kylie phenomenon is a lot more than a thin-voiced beauty backed by big budget labels. Her enduring charisma has captured the imagination of the commercial entertainment world, her professional commitment has carried her beyond both critics and cancer, and her penchant for stripping back the layers (at least sartorially) means that the more we see of Kylie, the more we buy into her brand.
Kylie’s career began in the eighties, survived the nineties, and continues on into the naughties with increasingly fewer clothes to cover for her marginal talent as a singer. But the Kylie phenomenon is a lot more than a thin-voiced beauty backed by big budget labels. Her enduring charisma has captured the imagination of the commercial entertainment world, her professional commitment has carried her beyond both critics and cancer, and her penchant for stripping back the layers (at least sartorially) means that the more we see of Kylie, the more we buy into her brand.
This compilation pays homage to the different steps of her career in no particular order, playing out like a Vegas show replete with swelling orchestral effects and theatrical crescendos melting into belting, bouncy bops and disco beats. It’s Barbie in Cristal.
The live recording effects a catch 22, increasing the hype with the roar of the adoring masses, and antagonising her chances for real critical acclaim by stripping the veneer that her sassy beauty builds. Her vocals are mediocre, thin at times, and unexciting. So are her songs, held together by synthesizers and sex. But that’s pop for you; this Aussie star knows how to use the southern reaches to sell sound.
If you listen to nothing else on this double album, the glam, jazzy version of maybe her most memorable hit, “The Locomotion” is worth your time. It’s the single song of merit and a point of departure from the hits we cringe over and sing along to at the same time.
The bottom line from the Sheila with the best bootie in the business is that Pop is timeless (at least in that it doesn’t change much.)
- Jess Henson
The live recording effects a catch 22, increasing the hype with the roar of the adoring masses, and antagonising her chances for real critical acclaim by stripping the veneer that her sassy beauty builds. Her vocals are mediocre, thin at times, and unexciting. So are her songs, held together by synthesizers and sex. But that’s pop for you; this Aussie star knows how to use the southern reaches to sell sound.
If you listen to nothing else on this double album, the glam, jazzy version of maybe her most memorable hit, “The Locomotion” is worth your time. It’s the single song of merit and a point of departure from the hits we cringe over and sing along to at the same time.
The bottom line from the Sheila with the best bootie in the business is that Pop is timeless (at least in that it doesn’t change much.)
- Jess Henson
Labels: 24.com, Acoustic, diana ross, Fokofpolisiekar, Francois Van Coke, jan 2007, Keith Urban, music review
posted by jezebel at
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