Here There & Everywhere

HT&E Live Review: Gavin DeGraw - London Astoria - 17th November '08

A rainy night in London is one to forget for one of New York's most talented sons. 

There's no doubt that Gavin DeGraw is supremely talented and that's what made his London gig on a rainy November night all the more infuriating. Breaking immediately into a raunchy, rock-driven opener the tone was set for a night that would only wow fans that refer to him as "That guy who sings the One Tree Hill song". 

Making his name with a piano and a heaven-sent vocal, New Yorker DeGraw has seemingly abandoned the intimacy that brought him to the attention of record labels and fans and sought an all out assault on the popular music scene. Given the current financial climate it's probably right to be chasing the yankee dollar but to do so while retaining integrity is a tough task and, on the strength of this one night in an historic British entertainment venue, a task at which Gavin DeGraw has unfortunately failed. 

London's Astoria theatre is such a "cosy" venue that you would be hard pushed to find a bad seat in the house. Everywhere is close to a stage tailor made for the music with which DeGraw made his name. On this night though he chose to ignore the signs and force a new sound down the throat of the full house.

It's true, he is yet to make a bad album; a stunning debut in Chariot, a stripped version (recorded in one breathtaking take) and an accomplished, self-titled latest release. Why his music isn't more well known has been a mystery - until now. 

It could have been the venue, it could have been the sound engineers (one of whom appeared to have a help menu open on his screen for most of the show) or it could just have been a bad night but, DeGraw simply didn't transfer the energy and depth of his albums to the stage. SURELY it should be the other way around! 

The sonic delivery was messy, bass-heavy and engulfed the act's biggest selling point - DeGraw's voice. More the aural serving one would expect from a basement club's open mic night than such an exciting, label-promoted talent such as this. 

It's not that there was a requirement for a toned down set of ballads and vocal acrobatics but it would have been nice. The only hints of DeGraw's vocal range, power and perfection were displayed in embarrassing, seemingly improvised interludes between muddy versions of his pop rock hits. Amazingly, the best track of the night was Chariot's Chemical Party which injected some much needed life into the subdued crowd who mostly made noise from static positions. 

Perhaps the band are paid too much money to sit back for a song or two but that's what the entire performance was crying out for. Something stripped down, beautiful and clean. Every time a standout track looked ready to deliver it fell flat. It took until the encore to even begin to lure the goosebumps from the skin. Finally, a vocal driven performance. No drums, no bass, just soul. It lasted mere seconds and 80 percent of it was delivered by the crowd. A massive tease. 

Throughout it all, the strength of so many well crafted songs lured a decent amount of sing-a-long value but it was the knowledge of just how good the original versions are that helped take the edge off a lackluster stage show. Even the lighting did little to rouse, cajole or otherwise enliven a vocal yet uninspired audience. 

So on this night it didn't work. The man's too good for things to go on like this and surely, when his grunge-rock tinged with pop rebellion is over there'll be far more to be taken from shows like this. 

Right now though, if performances are like this on every night of this current tour, it would be worth spending your money on a top spec stereo and a copy of Chariot Stripped to enjoy Gavin DeGraw the way he's meant to sound. 

iTunes Free Single of the Week: Flobots - Stand Up

Say Linkin Park dropped their instruments and let a set of classical alternatives take their place. Say Rage Against The Machine stopped shouting. Say Dilated Peoples stripped things down and Kanye West cooled his production fire. If all of the above took place you would be sitting firmly in Flobot country.

A clean violin loop isn't the atypical opening to a track residing in the hip-hop bracket but, in this instance, it makes sense. Stand Up follows the lyrics not the music as it meanders its way through political sentiment and social uprising.

The hands off cleanliness of the track's production is both a strength and a weakness here, making way for intelligent, eloquently delivered lyrics but leaving an emptiness at crucial points. Head nodding as the snare section arrives following a simple kick drum introduction is as far as it goes for rhythm and leaves the listener begging for a harder hit as the second chorus rolls around.

There's a hook to the Colorado natives' track. Stand Up is a catchy tune, but it's not going to be the crowd pleaser you throw on amidst a J5 and Wu Tang-heavy set. There's a whole album for that and, while this track is free, you would be well advised to sample the paid-for full album to truly understand what Flobots are all about.

iTunes Link

iTunes Free Single of the Week: The Cool Kids - What Up Man

“Did you know I made this beat with my mouth and a bell?” raps Mikey Rocks of The Cool Kids on the latest iTunes Free Single of the Week. Judging by just how annoying What Up Man is, we could have guessed, yeah.

Yes, here we go again. Another free iTunes single and, once again, it’s free for a reason - nobody would pay for it. The Cool Kids are noted by some as the next big thing to come from Chicago’s hip-hop scene, a fact about as likely as R.Kelly being named the next coach of the city’s under-18 netball team.

To date this is the first “commercial” release from the duo of Mikey Rocks and Chuck Inglish (his real name is Ingersoll but we doubt he could spell English anyway). The pair met on MySpace and have since collaborated and pumped out tracks through the social networking site - and there they should have stayed.
Repetitive, mindless, grating. Three words evoked by What Up Man. Sampled vocals, a cowbell and a couple more effects make up the “music” here and within seconds you’ve had enough.

What can’t be argued, is the latent talent in the delivery of the lyrics. There’s skill here, beneath all the crap, even the rhymes themselves are well coupled, if meandering and utterly pointless. Picture a drunk Del tha Funkee Homosapien on his worst possible day and you’re not quite at the depths of The Cool Kids but getting close.

We get the point. There’s a love of 80s hip-hop here, and it shows. The problem being that The Cool Kids have taken everything that was bad about it; the repetition and the lack of musicality and none of the fire, the passion or the rebellion. The result? Meaningless white noise that’s less innovation and more irritation and enervation.

iTunes Link

HT&E Review: Coldplay - Viva la Vida or Death and All His Friends

What happens when you lose a trademark and gain a world music influence? You release your fourth album called Viva la Vida or Death and All His Friends, if you're Coldplay.

The trademark is Chris Martin's falsetto which, while not non-existent, is toned down significantly with a far deeper range displayed by the front man. Tracks like Cemeteries of London and Yes are a true departure from previously pitched-up power ballads like Fix You, In My Place and Trouble. The introduction of a more international vibe is likely the result of touring locations as far flung as Chile and Argentina during early production of the album. What you're left with is the power of Coldplay's original trilogy of albums yet enhanced by arrangements that tower at their climax and whisper at their softest moments. The tampering with the original formula wont upset the Coldplay fan, however. The crowd-wowing, stadium-filling choruses are still here. The sense of grandeur in both lyrics and sonic style prevail. It's understood that the band have recorded parts in churches during the build-up to this album's release - an indicator of its political tone or a way to truly understand the magnitude required to enhance an arena sound? Possibly a mix of both.

"In a potentially calculated move, the band and singer have switched roles for this album, with Martin's lyrics fighting larger battles than his own psyche"

In a potentially calculated move, the band and singer have switched roles for this album, with Martin's lyrics fighting larger battles than his own psyche and Buckland, Berryman and Champion exploring themselves through the music they create. The influence of Brian Eno is, without doubt, a positive not only for the band's sound but for its development. Tracks like Lovers in Japan/Reign of Love could have easily been resurrected B-Sides from The Joshua Tree and Cemeteries of London could have sampled The Edge's guitar sections, but in no way could any song on Viva la Vida be deemed a U2 "tribute". Coldplay still know how to write their own songs, make their mark and keep them unique. Chris Martin is, however, being ushered in as the heir to Bono's throne, through activism and political subject matter. Alongside his extra-Coldplay Oxfam support, lingering suggestion of war, peace and uprising are scattered throughout this ten-track outing. Unfortunately, it's unclear just what all the shouting is about at the end of the record.

"War, peace and uprising are scattered throughout this ten-track outing. Unfortunately, it's unclear just what all the shouting is about at the end of the record"

Once again, the word "influence" rears its head as a selection of instrument and styles, most notably the middle-eastern origin of the santur making its way past traditional piano and organ parts on the opening track, Life In Technicolor. The cross, kings, priests and even locusts haunt the lyrics throughout Viva la Vida yet it's still a mystery by the conclusion of the closing track, The Escapist, an aural equivalent of a post-credit sequence that seduces the listener from their suspended disbelief and back into the real world, on which side the voice of the album stands. Essentially, Viva la Vida offers up the hallmarks of a blockbuster; conflict, peace, despair and love but as it fades to black you're left hoping that there will soon be a sequel to pick up where this album left off.

"Coldplay are stepping out of "this is our song, honey" territory and into the weighty world of rock history"

What isn't apparent here by comparison to previous albums is the immediate connection to the listener with every song. Viva la Vida, like the character in its title track, has its highs and its lows and the band isn't going to suck in the girlies or fringe members of the emo crowd with this offering - but that's not a bad thing. This is the experimentation stage, the broadening of what was already pretty broad and there's much to be taken away by members either side of the record label. Lost!, undoubtedly a coming single, also harks back to classic U2 and is the best of everything we (the listener) and they (the band) have learnt this time around. Everything you've come to expect from Coldplay at their best, just one louder. While right now it seems the band is a little too aware of what makes a concert track rock, Coldplay are stepping out of "this is our song, honey" territory and into the weighty world of rock history. How they deal with things from here, like with the critical savaging of X&Y, will shape their destiny. This is in no way a bad album but it's still just a proof of concept. It's a case of transitioning a humble London outfit into true hall of fame stardom material. Clarity, focus and yet more arena anthems are coming.

www.coldplay.com

iTunes US Link

iTunes UK Link

iTunes Free Single of the Week: Little Jackie - LOL

From the sublime to the ridiculous. Last week's excellent iTunes freebie from The Script becomes even more valuable as fans of quality music are brought back to earth with a bump by Little Jackie's LOL.

When Luther Vandross and Janet Jackson told us "The best things in life are free" they certainly weren't talking about the latest iTunes Free Single of the Week from Little Jackie. In fact, iTunes would probably have to PAY customers to download this drivel.
Based around an initially appealing brass-driven beat the lyrics become tiresome too quickly and, by the track's two minute forty six second conclusion, the "plot" has well and truly been lost. How many times has your man accidentally text you when he was meant to be messaging his mistress only for you to have the last laugh on his cheating ass by pretending to be said woman and luring him to a secluded spot so you can break up with him? Happens all the time, right?

If the "text-speak" title LOL wasn't enough for you, the track is clumsily littered with other digital references including the hugely predictable appearance of "WTF", an acronym likely to run through your head for the duration of the song.

Sympathy must go to Adam Pallin, the "other half" of Little Jackie alongside Imani Coppola and, in this instance, the one providing any hope. As DJ and programmer the production of the beat and instrumental parts is, frankly, excellent only to be let down by lyrics that could have been scribbled in the pages of a teen magazine.

Take a trip back to 2007 and check out Imani Coppola's The Black and White Album and you'll realise that Little Jackie and LOL are, one hopes, a blip in an otherwise supremely talented artist's career. Speaking to Time Out about her new venture, Coppola recently said "I've been on the side a lot for the past couple of years, and you get kind of used to it. It’s going to be nice to get back to the center."

On the basis of this release she's best off hanging around the periphery.

iTunes Link

HT&E Review: Where The Light Is - John Mayer Live in Los Angeles

Why release a live album? To fill the gap between albums (in this case nearly two years) or promote an outstanding performance encompassing a fine body of work?

When a live album makes its way to the shelves it's usually an opportunity for those who bought the original release to enjoy new takes on tracks or re-live the live experience. Where The Light Is is a different type of live album, however. Acting as a greatest hits compendium it's split into three distinct chapters; acoustic, blues and band favourites. The result is a win/win for the Mayer camp, a collectors item for the diehards and an accomplished showcase for newcomers.

Essentially working as three EPs, Where The Light Is, was recorded at LA's Nokia Theater in December 2007 off the back of Mayer's Continuum tour. Like a John Mayer timeline, the album follows his musical evolution from solo acoustic through blues and into the mainstream and it's the middle section that truly stands out - at times jaw-droppingly so.

"It's the middle section that truly stands out - at times jaw-droppingly so"

Throw a random snippet a non-Mayerite's way and they'd be hard pressed to distinguish the 30 year old's blue notes from those of B.B. King or Buddy Guy at their best. Even the stage presence is there "...it's 2007, we just launched into slow blues and seven thousand people in LA went nuts. All is not lost". Throughout the album it's clear that Mayer is a guitarist, singer and songwriter at the height of his considerable powers, so much so that his previous Grammy winning efforts pale in comparison to this performance masterclass.

The great live albums from the likes of Zeppelin, Hendrix and other such luminaries were founded on perfect set weighting and this is something Mayer has clearly read up on and perfected, effortlessly swinging between crowd pleasers and covers with the aplomb of a trapeze artist in zero gravity. The aforementioned cover versions are also masterfully sprinkled across the thirds with Tom Petty's Free Fallin, Hendrix' Bold As Love and Ray Charles' I Don't Need No Doctor among others receiving the Mayer treatment and, subliminally, solidifying his position amongst such heavyweights.

"...effortlessly swinging between crowd pleasers and covers with the aplomb of a trapeze artist in zero gravity"

While the album appears to build to a climax during the John Mayer Trio blues set featuring original 2005 Trio members Steve Jordan and Pino Palladino, there are even higher heights to be found as the band finds yet another gear for the final section. Kicking into Mayer's "modern era" with the politically motivated sing-a-long Waiting On The World to Change, arguably the track that has lured the most new Mayer fans in the past two years, through to the highlight of the album - Gravity. The fact that the album is named after a line from the track suggests its significance and the execution doesn't disappoint. Soaring at times and evoking memories of Clapton's Wonderful Tonight, Gravity is the perfect live track for Mayer that builds until the audience is ready to burst with joy, so complete as it is with guitar and vocal complementing one another. It's hard to understand why the song doesn't close out the performance, leaving the listener on an unequivocal optimistic high. Instead Mayer, who also co-produced the album with Steve Jordan, opts for yet more politics with the conflict-inspired Belief before ending on the heartbreaking I'm Gonna Find Another You, another perfect blues number but not quite the send off you might expect.

"The perfect live track that builds until the audience is ready to burst with joy"

Released in DVD, Bluray, MP3 and CD formats it's worth appreciating Where The Light Is in optimum audio clarity, preferably alone with a glass of wine. That said, the raunchier elements could provide the backdrop to the best of social gatherings and will, like Floyd's Pulse and Neil Young's Live Rust, not only provide the repeat performance value but also that unshakeable feeling that this album will remain not only on iPods and CD players but within musical history for decades to come. Glowing from every pore of John Mayer at his live best, that's truly where the light is.

www.johnmayer.com
iTunes Link

iTunes Free Single of the Week: The Script - Before The Worst

Not since Paolo Nutini has there been such a good free track available on the UK iTunes Store. Before The Worst is an anthemic pop tune (if that's possible) that sidesteps the Coldplay niche nicely while smiling more than Keane and Turin Brakes. Is it because it's a truly pop track and not pretending to be alternative/adult rock? Does the quasi-Timberlake high speed vocal add something that your parents wouldn't get? What catches the ear is the traditional stylings that belong in an epic, all nicely produced into a sugary yet punchy hit that wont win awards but certainly wont offend within a sea of mediocrity.

Check out the track here

The full review of The Script's album, The Script will be available on HT&E soon.

Coming Soon: Coldplay, Mayer and more

As we continue to post some older material that was "lost in translation" while we switched blog providers, we want to make sure we're keeping up with the newer happenings too. At the moment we're lagging behind but, all going well, after this weekend we'll be on top of things. So, better late than never, we're narrowing down our opinion and trimming the word count on some album reviews that should have been up a while ago. They'll be here, in whole or in part, over the next week or so, mingled in with all the latest news and reviews. It's going to be a busy September.

In no particular order, the albums are:

John Mayer - Where The Light is

OneRepublic - Dreaming Out Loud

Coldplay - Viva La Vida

The Script - The Script

Death Cab for Cutie - Narrow Stairs

Tristan Prettyman - Hello

The Pigeon Detectives - Wait For Me