4Play

May 25, 2005

Aimee Mann - The Forgotten Arm - Superego Records
Produced by fellow singer-songwriter Joe Henry, with additional musical help from Sheryl Crow guitarist Jeff Trott (among others), Mann’s latest still retains what we’ve grown to know and appreciate about her - especially those plaintive, distinct vocals - but also manages to approach things from a more plainclothes rock n’ roll angle. It’s as close to a live album as a studio effort can be, and her musical storytelling sounds great in this format, especially Mann’s newly written-on-piano songs. Focusing mostly on themes of rural travel and co-dependency, she takes the listener through an aural road trip, utilizing the fictional relationship of “John” and “Caroline” as they jaunt across America - songs like “King of the Jailhouse” and “I Can’t Help You Anymore,” are what Mann uses to eloquently explain the pull that both love and the open road can have.

The Crystal Method - Community Service, Vol. 2 - Ultra Records
TCM’s first remix album, Community Service, saw the duo stirring up tunes from the likes of Orbital, Rage Against the Machine, and Garbage - and, much like a hot DJ set at just the right club, it proved to be a near-instant success and a whole lotta fun. Their second volume of remixes follows the same idea, but flows, if possible, even better than their first try. Perfect to play at both large-scale events and small-town barbeques (especially if you want to hip-i-fy your pals), Scott and Ken know how to get the party started, and have honed their mixing and editing skills to great effect. Check out their spins on The Doors’ “Roadhouse Blues” and Smashing Pumpkins’ “1979,” among others; they’ve got the beat, and they know what to do with it. And the cover art - TCM literally spooning up hot vinyl - is clever, too. If this is their idea of community service, let’s sentence ‘em again.

Ryan Adams - Cold Roses - Lost Highway
Subtitled “...and The Cardinals” - which refers to Adams’ new backing band - this is the first of not one, not two, but three releases Adams will be offering up this year, and which he’ll be promoting, as well, with an extensive tour schedule. As if that wasn’t enough, the prolific singer-songwriter also made this first release a double album - so when does the guy sleep? Well, not very often, if the songs are any indication - thoughtful musings reside next to tired confessions, all of it sounding quite organic and prettily arranged. A lot of it holds on to the alt-country influence that Adams has become associated with, but just as many of the songs lean towards a folky emo genre that’s equally appealing. There are a couple of more uptempo numbers, too - but on this effort, Adams succeeds the best when he focuses on his wide-open heart, especially on songs like the lush “Cherry Lane,” the slightly sad “Rosebud,” and the disc’s first single, “Let It Ride.”

Hot Hot Heat - Elevator - Sire/WEA
Oft mistaken for yet another Euro import, Hot Hot Heat hails not from overseas, but from next door - Canada, to be exact, where the British Columbians combine their Northern exposure with a secondary English influence that makes an interesting statement. The recent revival of ‘80s dance music has been great for bands like Hot Hot Heat, as they battle it out with similar sounding acts - a little healthy competition is definitely good for the pop charts. But HHH does set themselves apart with how they blend all of their influences together. There are hints of lots of things in Hot Hot Heat songs - even things as diverse as ‘50s doo-wop harmonies, Devo synths, and Weezer-esque melodies - so it’s fun to ponder just what the guys grew up listening to. But if you were ever to hear them perform in an unplugged format (which would actually be kinda cool) you might find yourself instead focusing on the simple strength of their well-written pop songs.