LITTLE ROCK — Carolina Chocolate Drops Genuine Negro JigNonesuchA-
Think of the fine new album by the Carolina Chocolate Drops as black Americana.
This wonderful roots music played by the Dropsis inspired by the past (The Tennessee Chocolate Drops from the early 1920s, among others). But the trio is rooted in the past, not root-bound in revivalism.
Genuine Negro Jig is a fascinating mix of traditional tunes such as the spirited “Trouble inYour Mind,” a cool original “Kissin’ and Cussin’” and string-band approaches to contemporary songs, such as Blu Cantrell’s hit “Hit ’em Up Style (Oops!)” and a striking redo of Tom Waits’ “Trampled Rose.”
Joe Henry’s production is crisp and potent; it letsthis warm, spare and often startlingly timely (especially “Trouble in Your Mind”) music shine. From fiddle-on-fire stompers to heartbreaking laments, the Carolina Chocolate Drops - Rhiannon Giddens on fiddle and banjo, Don Flemons on fiddle, guitar and banjo and Justin Robinson on fiddle and autoharp - are timely and timeless.
- ELLIS WIDNERJohn Hiatt The Open RoadNew WestB+
John Hiatt’s lack of stardom is one of the modern mysteries. He has been around since the early 1970s, writing literate, hooky pop and blues and singing the stuff with a tuneful snarl that sounds ageless and ancient and inevitable. And while he has been through a few stylistic changes in his day, he settled into his roots rock persona more than 20 years ago. Why isn’t this guy a prestige artist? Why doesn’t he at least have a talk show? He’s the closest thing we’ve got to an American Elvis Costello.
That said, on first and second listening, The Open Road seems like summerweight Hiatt, loud and raucous for the most part, a small tight band (Hiatt with drummer Kenneth Blevins, lead guitarist Doug Lancio and bassist Patrick O’Hearn) making electric noise in a well-off middleaged dude’s garage studio. “Go Down Swingin’” is a nod toEmpire Burlesque-era Dylan, “Haulin’” invokes the spirit of Sun Records and if there’s nothing here with the spooky power of, say, “Only the Song Survives” from 2000’s Crossing Muddy Waters, Hiatt is one of those preternaturally tasteful artists who imbues everything he touches with authentic grace.
- PHILIP MARTINCitay Dream GetTogether Dead OceansB
There’s a sweet, spacey vibe running through the latest from this San Francisco group led by songwriter Ezra Feinberg. Think a less freakedout Mercury Rev. “Careful With That Hat” is the driving opener; “Mirror Kisses,” with its subdued three-part harmonies, is an acoustic-based trip down some hippie moonbeam; and there’s a perfectly placed metal guitar groove in the instrumental “Hunter.”
Oh, and stick around until the end for the warm, reverent, reverb-laden cover of Galaxie 500’s amazing “Tugboat.”
This thing is a Dream.
- SEAN CLANCYChristabel and the JonsCustom Made for You Christabel and the JonsB
The throwback country swing and coffeehouse jazz of Christabel and the Jons seems to be custom made for a guest spot on A Prairie Home Companion. Led by singer and songwriter Christa DeCicco, the group wears vintage outfits onstage and believes in acoustic, unobtrusive Americana music.
DeCicco’s concerns are relationships from a personal point of view, which doesn't quite match up with the handstitched quality of her band. You also wish more of the melodies had a harder focus and no doubt the swing aspect works better live than it does through speakers. Songs “I Believe” and “Custom Made” are high points when the concept matches the approach and makes for a surprising and intimate experience.
- WERNER TRIESCHMANNCeltic Thunder It’s EntertainmentCeltic Thunder Ltd.
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There’s nothing terribly Celtic about the latest from Celtic Thunder. Only one ofthe 16 songs (the instrumental “Lough Swilly Railway”) has a Celtic feel to it.
Aside from the ubiquitous “Amazing Grace,” the rest of the songs are covers - a conglomeration of pop songs from different decades. Some come off relatively well, mainly the expectedly cheesy ones like Bryan Adams’ “Everything I Do (I Do It For You).” The cheerful “Doo Wacka Doo” is bouncy and fun.
Much less successful is an attempt at Jim Croce’s “Bad, Bad Leroy Brown” that comes off sluggish and toothless. “Surfer Medley” shouldn’t give the Beach Boys anything to worry about.
The voices are mostly good, but on songs like “When You Wish Upon a Star” and “Hallelujah,” one of the soloists sounds like he’s auditioning for American Idol by overdoing the melismata. Great if you like that sort of thing. Tiring if you don’t.
- JENNIFER NIXONVarious artists Almost AliceBuena VistaC
The Tim Burton film Alice in Wonderland has spawned a project with pop and rock performers playing songs inspired in some way by Lewis Carroll’s Alice in Wonderland.The lead tune, Avril Lavigne’s determined “Alice,” apparently is played under the film’s closing credits. The album is a mixed but catchy set of tunes with the hot Owl City on the poppy psychedelica of “The Technicolor Phase.”
Some surprises: Robert Smith of the Cure on a spooky update of “Very Good Advice,” which is from Disney’s 1951 animated Alice in Wonderland; a duet by Pete Wentz of Fall Out Boy and Mark Hoppus of blink-182 on “In Transit” and Wolfmother’s “Fell Down a Hole.” And, of course, they couldn’t resist adding Jefferson Airplane’s “White Rabbit,” played by Grace Potter and the Nocturnals. It hugs the Airplane’s 1967 version and Potter is passionate, though not in the Airplane’s Grace Slick’s league. Hardly essential, but this Alice is more fun than it might have been.
- ELLIS WIDNER
Style, Pages 51 on 03/07/2010