He whimsically follows his muse as it leads him on a rambling chase, and his later albums have sometimes seemed more like identity crises than coherent statements. 4th St.ĭevendra Banhart evidently figures that because he can do a lot of things, he should do every one of them. The Tossers performs March 17 at Turner Hall Ballroom, 1040 N. To the band's credit, it explores an interesting range on "Wherever You Go," which spans from a sort of mellow Irish hymnal to a nastier kiss-off to a cheeky, spirited traditional Irish jam, all within 5 minutes.īut similar to having a few too many, the album's redundancy results in a headache. Patrick's Day tradition at Turner Hall Ballroom. To a certain degree, that's what people want from the genre and the Tossers: a blend of spirited and somber Irish tunes fit for hoisting a pint. Patty's Day revelry year after year, it's pretty much the same old thing. Patrick's Day, Chicago Celtic punk band the Tossers has released its latest album - and like many people's St. They're diverse, too, from the interpretation of Peter Tosh's reggae track "Till Your Well Runs Dry," to the serene 1937 song "The Folks Who Live on the Hill," with Clapton's cover blending elements of Randy Newman pop with nostalgic strings and a touch of country guitar. The originals are so well done, it's mildly disappointing there aren't more of them, but the covers on this "Old Sock" still feel new and fresh.
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Led by Clapton's sharp and tangy guitar work, it's a comforting collection of covers, primarily blues tunes, plus two originals: the roadhouse rocker "Gotta Get Over" with its soulful organ and group female chorus, led by Chaka Khan and the '50s-esque charmer "All of Me," featuring saloon-style piano and Paul McCartney on bass and vocals. What do you think of when you hear the phrase "old sock"? Do you associate it with something familiar, well-worn and comfortable - or picture that old sock as a ratty cloth with silver-dollar-sized holes better fit for the trash?Įric Clapton's 20th studio album, "Old Sock," definitely doesn't belong in the garbage. How can you not get swept up by the group chorus on "Because We Can," or the dramatic church organ on "Army of One" or Richie Sambora's guitar riff on "I'm With You"?Īs a wise man once said, "if you want to start a fire, it only takes a spark," and despite its significant shortcomings, the sparks are flying on "What About Now." And the opening line of "Pictures of You" - "I feel just like Picasso, and you're my masterpiece" - is gag-inducing.īut darn it, Bon Jovi, against my better judgment, I still enjoyed "What About Now." In terms of song structure, the band is one of the best working today at crafting slick, stadium-sized, feel-good rock songs. "Thick as Thieves" has Bon Jovi breathlessly singing about star-crossed lovers, "back against the world," who "just kiss" when the switch in the electric chair is flipped.
When Bon Jovi isn't trying to "stand for the restless and the lonely, the desperate and the hungry," the love songs are still loaded with cheesy, clumsy or clichéd lyrics. (If you want to start a fire, it only takes a spark you have to get behind the wheel if you ever want to drive, etc., etc.) Take the preachy title track, for instance, with Jon Bon Jovi offering pearls of self-help "wisdom" better suited for a fortune cookie.
There are so many reasons to not like the new Bon Jovi record. If it takes another 10 years for Bowie's next album - or if it never comes - at least he's ending on top. Once he's warmed up, the album gets stranger (but never inaccessible), with odd falsetto cries on "How Does the Grass Grow" and a Bono-like vocal lead on "If You Can See Me" that races along foreboding guitar lines and Bowie's compelling, fiery ramblings about wearing a red dress and children swarming like thousands of bugs. The album comes back to a simmer via the sneaky sax stomps and psychedelic guitar blasts on "Dirty Boys." Snappy drums and funky guitar kick off the opening title track before Bowie's weird vocals and urgent delivery throw gasoline on the fire. "The Next Day" is definitely that, and despite what that first single suggests, it's a rock record through and through, distinguished by Bowie's eccentricities. But after 10 years of musical silence, admirers likely were hoping for something a little more substantial. The thrilling surprise announcement in January that David Bowie had secretly recorded a new album was diluted a bit by the subdued lead single "Where Are We Now?" There's nothing wrong with Bowie slowing things down and going introspective, particularly given the one-of-a-kind life and career he's had.