Carly Smithson’s post-’Idol’ blues
The News Review:
- Carly Smithson’s post-’Idol’ blues
- Backtracking: ‘Cadillac’ soundtrack doesn’t stack up against originals
- Living With Music: Roger Bennett and Josh Kun
- Fall Out Boy blasts out more ambitious hooks
- Annual Honors List Includes Stars of Film Dance and Music
- Tab Benoit Performs With Mike Zito Sat. at City Limits Delray
Carly Smithson’s post-’Idol’ blues
Los Angeles Times CA
“In an industry in which so many Idols rush albums to market only to see them belly-flop Spivak has urged Smithson to take her time. “There’ve been so many Idols who have failed” said Spivak. The music industry people scratch “their heads and they don’t quite know what to do. They say ‘OK you’re a nice girl and that’s nice. ‘ And ‘Arthur we like you and you’ve been in the business a long time. But who’s going to produce? Who’s going to write? And we’re so busy. And we have no money.
Backtracking: ‘Cadillac’ soundtrack doesn’t stack up against originals
Los Angeles Times CA
She can hit all the notes but she rarely makes us feel the extreme edges of emotion. That’s a big limitation for someone who wants to operate in the shadow of James a master when it comes to conveying what it’s like to live through hardship. The difference between the versions of these songs goes a long way toward explaining why Beyoncé is known as a pop singer and James a blues singer. Score one for the retrospective. Mos Def’s "Nadine" and "No Particular Place to Go" versus Chuck Berry’s recordings. Mos Def has lots of trouble copying Berry’s "duck walk" in the filmand he has almost as many problems trying to reflect the vitality andedge of Berry on record. When you play the recordings back to backBerry is the one who truly rocks.
Living With Music: Roger Bennett and Josh Kun
New York Times United States
” The words became easily adapted to different social and political histories where minorities were fighting for power and justice. The song took on particular meaning in African-American musical circles. This 1969 version by Jimmy Scott with Junior Mance on piano and Ron Carter on bass turns the original song’s chest-swelling pride into a haunting blues as holy as anything we’ve ever heard.
Fall Out Boy blasts out more ambitious hooks
Chicago Tribune United States
“These oblique trinkets are delivered with enthusiasm by the energetic if largely anonymous Stump. He frequently overdubs his pliant voice steeped in third-hand blues and soul into a multi-octave choir. More than anyone in the band he’s the reason Fall Out Boy’s songs ring out on the radio. His arrangements morph from straight-up rock to full-on orchestral fantasias augmented with strings and horns. When he settles in behind a piano to croon “What a Catch Donnie” he sounds as if he’s about to turn into.
Annual Honors List Includes Stars of Film Dance and Music
NewsBlaze CA
Tharp found a way to stretch the bounds of choreography. Jones battled various forms of addiction and heartbreak with angst becoming a core component of his music. And explosive London rockers Daltrey and Townshend – besides bringing a unique rawness to their musical genre – helped revive American blues music. An unmistakable grittiness binds the 2008 honorees together a palpable determination not only to achieve but also to overcome diverse challenges confronting them. None of them had an uncomplicated path to success as their colleagues pointed out in remarks at the gala. Actress-singer Queen Latifah for example hailed Streisand’s gift for “crossing over the boundaries jumping over barriers” to emerge from a single-parent upbringing and shape her own aspirations. Fellow performer Glenn Close cited Streisand’s vision and audacity in tackling projects others might not have dared to try.
Related from Southwestmuseum: The 33rd Annual American Indian Film Festival honors top films and …
Tab Benoit Performs With Mike Zito Sat. at City Limits Delray
Miami New Times FL
While tedious fretboard histrionics have (rightly) gone out of style there should be room for hot-stuff six-string slingers matching flash with creativity. Blues music impacted less by trendiness and more craftsmanship still exists in some pockets and for Louisiana’s Tab Benoit that approach to the genre is all that he knows. At 41 years old Benoit combines two regional styles near and dear to his heart — the incendiary sting of Texas blues with the more laid-back sultry and Cajun-infused swamp blues. It’s a nice blend but make no mistake — Benoit isn’t mired in any idealized past. While he exemplifies the cool-cat sting of Albert Collins and the Big Easy assurance of Slim Harpo Benoit’s covered songs by Julie Miller and Stephen Stills and his sound is still current. He’s the kind of performer that when you listen to his music it always feels like Saturday night in the Deep South and that’s exactly what you can expect this weekend.
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