Highs and Lows
I’m almost surprised, living in a city where the now-deceased top alternative rock station would release a yearly “Sonic Sessions” compilation of popular artists in various stages of being unplugged, that I’ve always taken for granted the difference between an acoustic set and the sound you wind up hearing on a finished CD. When I saw Matthew Ryan perform selections from his new release, From a Late Night Highrise, as part of a set with three other indie singer/songwriters, I assumed that the sound I heard that night would be matched on the CD. I was wrong, and I’m not quite sure that’s a good thing.
The Blues Are Still Blue
John Mayer has earned himself a sort of bad name in pop music. Because of his soft, well-produced music and sweet lyrics, Mayer has been exiled to adult-alternative stations like Philadelphia’s B101. No serious music fan in possession of all his mental faculties would admit to listening to B101 outside of an elevator. But beyond his radio hits, Mayer has always been capable of putting out satisfying pop infused with blues and R&B flavors. Mayer puts those influences at center stage in his newest release, Continuum. And while the 12-track offering may not convert any new listeners, especially from those who see his name and are tempted to quote a sight gag in Family Guy that says “That’s enough, John Mayer,” Continuum should be recognized as a mature and accomplished album.
Meant for the Stage
I have to admit that I’ve always bee torn over the prospect of seeing The Decemberists live. Lead singer/songwriter Colin Meloy’s lyrics are so engaging, his music so, dare I say, epic, that you can’t help but envision yourself amidst 16th century privateers or early American soldiers, preparing for battle. You almost expect the band’s concerts to play out like a theatrical production, with costumes, special effects, and elaborate scenery. Those expectations didn’t necessarily hold true when The Decemberists visited the Electric Factory last night – there was only one enactment of a song, and I couldn’t see it from my spot on the balcony – but that didn’t stop the concert from being extremely satisfying.
All Ben Done Before
By their very nature, re-releases and compilations are confusing to review. Fans are often torn whether or not to even buy a compilation disc: on one hand, it’s largely material you’ve heard before, rebundled in a convenient package; on the other, these releases traditionally contain “remasterings” of the material, ranging from upgraded sound quality on the existing recording to a completely different cut of the song. Because of this strange dichotomy, there are two schools of thought one could subscribe to when considering Ben Folds’ Supersunnyspeedgraphic, the LP, which is largely an amalgamation of songs from his limited-release EPs Super D, Sunny 16, and Speed Graphic. Both schools have legitimate arguments; luckily, Folds’ material here is strong enough to overcome the fact that it’s all been heard before.
Two for the Money
Under normal circumstances, a paying concertgoer would be upset to see a musician interrupt his live show to read excerpts from a trashy 95 cent novel about a male prostitute. In most cases, it would be taken as a sign that the crowd wasn’t enjoying the music. When you’re spending the evening with Matt Nathanson, though, this kind of behavior is not only par for the course; it’s expected. For 90 minutes last night (after an hour set by Virginia rockers Carbon Leaf), Nathanson brought his unique blend of dry wit and emotional pop/rock to the TLA. From the moment he stepped on stage, Nathanson had the crowd eating out of the palm of his hand, and not once did his fare disappoint.