New Broadway Cast Recording
Annie
Shout! Factory
B
Since it hit Broadway in 1977, Annie, the story of the world’s luckiest orphan, has had countless touring and local productions and two movies (one for the big screen and one for TV). Are there any little girls who haven’t belted “Tomorrow” into a hair brush?
In its latest Broadway revival, the show, like its heroine, is still optimistic and street-smart.
Star Lilla Crawford has the big voice needed for the title role and she has plenty of energy and charisma. Noteworthy among the other performers are operatic Anthony Warlow as Daddy Warbucks and Clarke Thorell as sleazy Rooster.
This summer, Glee star Jane Lynch took over the Miss Hannigan role from Katie Finneran, so they rerecorded Miss Hannigan’s big numbers: “Little Girls” and “Easy Street” and offer them as bonus tracks. Both are fine, but Lynch is the less cartoonish and more consistent.
The show has been around long enough and has been ubiquitous enough that most should already be somewhat familiar with the plot and the songs. This recording is about on par with those that have come before, although it can be a bit shrill at times in the voices and the brass-heavy orchestrations. It’s loud, cheery (with a little bite) and either charming or obnoxious, depending on your taste.
Hot tracks: “Easy Street” (either one), “N.Y.C.”
- JENNIFER NIXON
Maysa
Blue Velvet Soul
Shanachie
B
This 15-cut set by Baltimore R&B vocalist Maysa deals mostly with the giddy rush that comes at the start of a new love affair. Sexy ballads concern topics like waking up with a lover (“Good Morning Sunrise”) and using a sensual rap rhythm to express desire (“Sophisticated Lover”).
The style here is smooth, suave and controlled. Maysa is in charge of her lyrics, telling soulful stories with a clear sensibility that lets the words, not vocal acrobatics, express emotions. This is grown-up music for those who appreciate her cool, elegant phrasing and remarkable poise.
Hot tracks: “Beautiful Dreamer,” “Pouring Rain,” “When You Touch Me.”
- KAREN MARTIN
Slaid Cleaves
Still Fighting the War
Music Road
B+
Blessed by National Public Radio and graced with the kind of disposition that won’t push listeners away, singer-songwriter Slaid Cleaves’ latest stands a chance to be a breakout record. Cleaves’ style is gentle earnestness supported by slow tempos and blue-collar concerns. “Rust Belt Fields” and especially “Welding Burns” are catchy love letters to the vanishing hourly wage. Cleaves even displays a sense of humor (the quaint “Texas Love Song”), which nicely balances out the rest of the seriousness.
The title track - about a veteran who can’t really come home - has its heart in the right place but needs some kind of twist, a variation on the story that Americans know all too well. Cleaves is a skillful musician with a searching mind that could stand to record a really fast song or let loose with a bit of utter nonsense. That kind of jolt could make the rest of these otherwise strong songs sink in a little deeper.
Hot tracks: “Rust Belt Fields,” “Welding Burns.”
- WERNER TRIESCHMANN
Amy Grant
How Mercy Looks From Here
EMI
B+
Amy Grant doesn’t reinvent the wheel with her newest album. She took what works really well for her and ran with it. It seems like Grant’s voice has gotten even more breathless and whispery over the years. Still, it’s lovely and clear, and perfect for the style of songs she sings.
The Grammy and Dove Award-winning artist has sold more than 30 million albums, and she clearly knows her place in the music world.
Her career spans from gospel to pop, but she went back to her Christian roots for this album. How Mercy Looks From Here contains 14 simple but powerful songs about family, faith and God.
Hot tracks: “Don’t Try So Hard,” with James Taylor.
It’s about God’s grace and the fact it’s freely given, and “Faith,” with Grant singing huskily about being certain of what we don’t see and sure of what we hope for.
- ROSEMARY BOGGS
Peter Rowan
The Old School
Compass
B+
The title does not lie, as gentleman bluegrass veteran Peter Rowan builds a solid record within the narrow and well-established confines of his genre.
Lovely as “Doc Watson Morning” is, it’s also quite insular - it’ll likely thrill those who know who Watson is and bemuse those who don’t.
There’s plenty of saving-grace humor here (“Drop the Bone”) and lots of virtuoso playing, as to be expected with a bluegrass record this expert.
Hot tracks: “Doc Watson Morning,” “Drop the Bone”
- WERNER TRIESCHMANN
Femi Kuti
No Place for My Dream
Knitting Factory
B
The cover sets the tone for this bracing set by Femi Kuti, son of Nigerian Afro beat pioneer Fela Kuti. On it, an African woman walks by a huge pile of garbage.
The album’s tunes follow a similar path - blazing attacks on corruption, politics and wasted opportunities in Nigeria.
But in a world that has suffered much during the economic crisis of the past several years, Nigeria’s problems become a symbol of worldwide ones.
The lyrics are bleak as Kuti travels these familiar themes, with the especially biting “No Work, No Jobs, No Money,” placing the responsibility on politicians. On “Nothing to Show for It,” you feel the despair in the lyrics: “Our problems they have no answer.” Kuti smartly pairs his lyrics with joyful music punctuated by lively horns, cool guitars, thrilling organ work and his voice.
Hot track: “No Work, No Jobs, No Money.”
- ELLIS WIDNER
Style, Pages 29 on 07/09/2013