CD Reviews

By: Staff and Wire Reports - | Wednesday, January 24, 2007 1:39 PM PST ∞

LOCAL

A- "Who to Trust, Who to Kill, Who to Love"

The Bloody Hollies

Alive Records

Raw, three-chord rock 'n' roll combining metal, glam and punk, San Diego's the Bloody Hollies' sound is equal parts T-Rex and Guns 'N Roses on their new album.

The third outing from the Buffalo, N.Y., transplants is full of the kind of youthful buzz that has always marked the best rock. A high-energy mix of twin guitars and drums behind Wesley Doyle's snarling yet urgent vocals, the music on "Who to Trust, Who to Kill, Who to Love" is a beguiling blend of attitude and musicianship.

If the lyrics can be a bit silly at times in their eager pursuit of nastiness ("Cuz I was born for evil / Evil's all I've done"), the band's assertive, confident playing provides the sort of backdrop that makes them work (see the Guns 'N Roses reference above). Too, the songs themselves are catchy enough that the lyrics don't need to be Dylanesque in order to hold your attention.

It's that part that makes the music of the Bloody Hollies stand out: There is no shortage of rock-star wannabes who have the hair, dress and mannerisms down pat; there are very few, though, who provide the combination of good songs, talent and confidence these guys do.

The Bloody Hollies play Saturday at The Casbah in San Diego.

---- Jim Trageser

Staff Writer

A "Still Dreaming"

Dee Ray

Self-released

San Diego's Dee Ray sounds so much like Chrissie Hynde of the Pretenders that it's a bit spooky at first. And at times, the overall sound of her band isn't too different from the Pretenders circa 1988. And yet, this is no tribute band or even stylistic rip-off. Put the blame on genes and history ---- not Ray's fault she sounds remarkably like someone who got famous before her, and there are few bands post 1990 that weren't influenced by Hynde.

Anyway, once you hear the 10 songs that Ray wrote for her second album, "Still Dreaming," you'll be so smitten that you won't be able to think about anything other than the fact that it's borderline criminal that she's not a world-famous star yet. From the jangly, accessible pop of "Some Dreams" through the regretful rocker "Lost," from the gorgeous power ballad "NYC" through the hypnotic love song "Other Side" and the countrified rocker "The Line," Ray has written a passel of classic rock and pop songs that ought to populate San Diego's musical landscape for years to come.

A solid bass player in addition to being a charismatic, riveting singer, Ray has assembled a solid band. Johnny Ford's guitar work has a personality strong enough to be immediately identifiable across the band's entire stylistic spectrum. Drummer Alan Leasure is rock steady while still playing with a very fluid feel, and Sue del Guidice's keyboards help give the band a sound that is not just full, but complete.

The production is remarkably clean, the packaging polished and professional. This is a heck of a release ---- one that would be impressive on one of the major labels, but is even more so coming from a local musician working with her own resources.

Dee Ray plays Saturday at the State House (formerly Java Joe's) in San Diego.

---- Jim Trageser

Staff Writer

B+ "Souls of Passing Feet"

Greg Friedman

Populuxe Records

San Diego's Greg Friedman writes songs of a disarming charm that only grows each time you listen to his new CD.

With a low-key, almost deadpan delivery, he reminds a bit of what alt-art rockers Cake might have been like if they were an acoustic folk combo. Irony and dark humor abound, but Friedman's singing isn't morose ---- it's not sunny, either; instead, it's got a kind of neutrality about it, like Paul McCartney's lead vocal on the Beatles' "Blackbird."

Friedman has an attractive singing voice, which makes his relaxed delivery all the more effective at bringing out the little twists and turns of his lyrics.

The dozen songs ---- all written by Friedman ---- are built around pleasant melodies. He backs himself with a variety of strummed string instruments (guitar, dobro, banjo) plus accordion and keyboards. A few guests sit in on a track here or there, or provide harmony vocals. So there is a very full sound, yet it stays very clean and straight-forward.

Greg Friedman plays Sunday at Lestat's in San Diego.

---- Jim Trageser

Staff Writer

ROCK/POP

A

"Live at SoundMoves"

Marina V

Self-released

L.A.-based Marina V makes a big point of marketing herself as a Russian-born singer-songwriter. While it's understandable that an unknown musician will use every possible angle to gain attention, the strength of the songs and the virtuosic singing she displays on her first album ought to provide her the kind of rep that lets her move beyond the gimmickry of touting her birthplace.

Like a more accessible, pop-oriented Kate Bush, Marina writes luxuriant pop songs that have more hooks than a strip of Velcro. Leading her band from the piano, Marina's compositions have the feel of tunes so strong they could stand on their own in a solo environment. But with a full band behind her on this recording (before a live audience), her songs take on a sheen that is enough to transfix the listener. (Special note must be made of fellow L.A. singer-songwriter Shannon Hurley, whose harmony vocals rival Marina's own voice.)

Still, the main ingredient in all this musical goodness is Marina's voice. It is near crystalline in its tonal purity, somewhere between that of Bush and Judy Collins. As with those singers, though, it isn't just the physical beauty of the voice that seduces, but how well she uses it. Pliant and expressive and clearly trained, Marina's singing is one of those miracles of both nature and nurture. The Beatles' "Here, There and Everywhere" is a perfect showcase for her voice, and she turns in one of the all-too-rare Beatles covers that can rival the original.

Great songs, one of the most beautiful voices on the planet, looks to rival most Hollywood starlets ---- Marina V seems destined for fame and fortune. Get in on the ground floor.

Marina V plays Sunday at Lestat's in San Diego.

---- Jim Trageser

Staff Writer

B "Freedom Road"

John Mellencamp

Universal Republic Records

"Our Country," John Mellencamp's hit that's currently running in a television commercial for Chevy Trucks, sounds like a hallmark card to America ---- on the anthemic choruses, at least. But the middle stanzas question whether his country lives up to its democratic ideals.

In that sense, the song adroitly represents the heartland rocker's 19th studio album, "Freedom Road," which celebrates the American dream while pointing out darkening clouds on its political and social landscape.

"Jim Crow," a duet with Joan Baez, deals with modern bigotry, while "Heaven Is a Lonely Place" pricks religious narrow-mindedness. The title song, one of eight featuring harmonies by vocal quartet Little Big Town, suggests that with liberty comes responsibility and the potential for abuse. The angriest cut refers to President Bush in its title, "Rodeo Clown," and describes America as "an arrogant nation" with "blood on her face."

As usual, Mellencamp wraps his commentary in moody heartland rock, played with spare intensity by his longtime band and given plenty of bite by the twin guitars of Andy York and Mike Wanchic. Like classic Mellencamp tunes "Pink Houses" and "Rain on the Scarecrow," "Freedom Road" thrusts a rocking fist in the air while putting Americans on alert about problems bedeviling their nation.

---- Associated Press

JAZZ

A+ "The Complete 1936-1940 Variety, Vocalion and Okeh Small Group

Sessions"

Duke Ellington

Mosaic Records

Although Duke Ellington has been dead for 33 years, the flood of Ducal reissues continues in the form of both singles and box sets. This time itís Mosaic Records that draws the honors with a seven-disc boxed set featuring Ellington small groups led by individuals within his full orchestra.

The compendium amounts to every cut Ellington and his sidemen recorded in small groups for Variety, Vocalion and Okeh, all Columbia Records subsidiaries, between 1936-1940. The effort duplicates in part a four-disc set by Columbia Legacy several years ago though it is not as complete; while the Columbia set is selective, the Mosaic issue is all-inclusive, which accounts for as many as three takes of some tunes.

The late Helen Oakley Dance, a one-time Vista resident, is credited with the idea to put Ellington's compadres in the foreground while he took a supporting role and also is said to have supervised most of the recording sessions.

Whatever the case, the 173-track, seven-disc anthology is a joy since it involves spotlighting Ellington's stellar array of musicians playing many songs they or Ellington wrote. Though all the Ellingtonians are featured, leadership roles fall to alto saxist Johnny Hodges, trumpeter Cootie Williams, cornetist Rex Stewart and clarinetist Barney Bigard.

Gems abound: Hodges, Ellington and bassist Billy Taylor essaying "Finesse"; drummer Sonny Greer's dynamic work on "Drummerís Delight"; Williamsí second of three versions of his patented "Echoes of Harlem"; Ellington's solo outing on a medley of "Mood Indigo" and "In My Solitude," and the presence of pianist Billy Strayhorn on the balladic "Black Butterfly."

A full-sized booklet containing Steven Laskerís superlative account of the recording sessions, a discography and splendid photographs accompany the masterful multiple-disc collection.

For information or orders: Call (203) 327-7111 or visit www.mosaicrecords.com; U.S. mail: Mosaic Records, 35 Melrose Place, Stamford, CT, 06902.

---- Cam Miller

For the North County Times