The artist: Roger Waters
The CD: “Ca Ira (There Is Hope): An Opera In Three Acts” (Sony Classical)

Anyone who has listened to “The Trial,” the finale of Pink Floyd’s classic album “The Wall,” knows that Roger Waters is capable of writing classically styled music sung by characters with distinct voices. It should come as no surprise that he has taken his music in a more intellectually challenging direction. Ca Ira tells the story of the French Revolution, and unlike many contemporary composers who merely dip their toes into classical forms, Waters dives deep into Grand Opera, and surfaces with an impressive work that has much more in common with Verdi and Rossini than it does with Philip Glass or Andrew Lloyd Webber. This is a real opera. It’s sung in English, but it’s not a glorified Broadway musical.

“Ca Ira” has had an elephantine gestation. Begun in 1989 to commemorate the bicentennial of the French Revolution, this work has seen the death of Waters’ collaborators, Etienne and Nadine Roda-Gil. Etienne Roda-Gil is a respected French librettist, and with his wife Nadine, he conceived the opera. Nadine provided illustrations that endowed the project with a powerful visual hook. Sadly, Nadine passed away shortly after the work began, and it sat on the shelf until 1997, when Waters began working on an English version of the text. With Etienne’s blessing, Waters fleshed out elements of the story and made it more relevant to the current political climate.

The result is a work that stands separate musically from Waters’ long-form efforts with his former band, Pink Floyd. There are the occasional hints of Waters’ previous work, but for the most part, musically, this could have been written in the first half of the nineteenth century, when opera was at its peak as an art form. This is not a “rock opera” or an overblown musical. If you aren’t used to listening to opera, it may take a while to acclimate yourself to this work. This is not a collection of catchy pop tunes, but a powerful story told with serious music. It’s unlikely that you’ll come away from “Ca Ira” humming any of the songs.

Lyrically, this is pure Roger Waters. The villains are the same that he’s always written about, and it’s the “bleeding hearts and the artists” who are the real heroes and hope for the future. Even in his most dark and personal works, Waters has been an optimist at heart, and the title of this opera is proof. There is hope.

The vocals are handled by a world-class cast of opera stars. Bryn Terfel lends his distinctive bass-baritone to three roles, and anchors the cast. Internationally-acclaimed soprano, Ying Huang, is superb as his counter, also assaying multiple roles and breathing life into the spirit of liberty. Paul Groves and Ismael Lo are major supporting players. I could go out on a limb and attempt to dissect the technical aspects of their performances, but I’d really be out of my depth. Essentially, they all sound really good. That’s all you need to know.

“Ca Ira” casts the story of the French Revolution inside a circus ring, complete with a ringmaster, clowns and acrobats retelling the tale. This adds an element of theatricality that allows a further suspension of disbelief, while acting also as a metaphor for the political circus surrounding the revolution. I was reminded of Philip DeBroca’s 1966 film “King Of Hearts,” where a Scottish soldier during World War One wanders into a French village entirely populated by inmates of an insane asylum. “King Of Hearts” employs that dramatic device to both distance the audience from the action, and then draw them into it more deeply. I felt the same way with “Ca Ira.”

With 38 tracks spread across two CDs, it’s hard to single out individual songs for praise. The music works in service to the story, and as such, there isn’t any single standout song. The work is so cohesive that you really have to judge it as a whole. Clocking in at nearly one hour and fifty minutes, that may seem like quite a commitment, but it’s very rewarding. The music alternates between calm exposition and stirring action, punctuated by bird sounds and cannon shots. There are come contemporary musical touches, but they’re not overbearing.

While the music is grounded in the forms as set forth by the greats of 150 years ago, there are hints of some early-twentieth century styles evident, and there are some melodies clearly consistent with Waters’ previous works. He didn’t completely subjugate his compositional voice here. He merely immersed himself in a different musical form than he’s used in the past. I’d even say he mastered that form.

I don’t think anyone is expecting this album to break out and sell millions of copies. It’s a little too deep and out of the norm for that. Fans of Pink Floyd may find it too challenging, and fans of opera may dismiss it without giving it a fair chance. This is really an exciting and rewarding work that tells a powerful and important story with wonderful music.

There are two versions of this opera available. You can buy a regular two-CD set, or a deluxe SACD version that comes with a bonus 60-page booklet and a DVD with a documentary about the making of the album. The documentary is fascinating, but unless you have an SACD-ready player, you may not want to spend the extra cash. I’m hoping that a companion book of Nadine Roga-Gil’s illustrations will be published.

Now, if we could only convince Waters that the Clay Center would be a fine venue to hold a public performance of Ca Ira…

— By Rudy Pannuci

The Artist: The Cardigans
The CD: Super Extra Gravity (Universal International)

In the US, The Cardigans are known mainly for their 1996 hit “Lovefool,” from the soundtrack to that pretentious version of Romeo and Juliet with Leonardo DeCaprio. While that light breezy pop tune caught the ear of the American public, it was not typical of the Cardigans’ harder-edged sound, and as a result, they’ve been consigned to the one-hit-wonder category. And that’s a shame, because this band is the true successor to the “tough broad with a killer voice fronting a tight band with great songs” mantle that used to belong to Blondie. This new album was supposed to be released worldwide back in October, but the release date came and went without it showing up in US stores. Evidently the Cardigans’ American record label had second thoughts about dropping this CD into the crowded pre-Christmas musical landscape. This sort of decision is the real reason that the music industry is in such a slump. This album is topping the charts all over the rest of the world. Luckily, imports can be ordered from Amazon, and I hear the album is available from iTunes. If you enjoy crisp, well-crafted pop rock with great vocals, it’s well worth the extra expense.

The album opens with “Losing A Friend,” a ballad that’s a killer “kiss-off” song. The darker tone sets the emotional theme of the album, which is about as far removed from the light pop of “Lovefool” as you can get. Musically, this track would be right at home on one of the later Beatles albums. “Godspell” is nearly as catchy as anything the Cardigans have ever done. It has no relation to the musical, but it’s still a contender for “hit single that never was” status. That it’s a wry comment on the pitfalls of organized religion is gravy.

I mentioned the darker tone. Lyrically, this album seems to be inspired by the type of emotional upheaval that makes for great music. Many of the songs sport just the right mix of bitterness, cleverness and harmonies. There’s lots of “you hurt me but I’ll survive just to spite you” sentiments infused into this music. Singer/lyricist Nina Persson has said that she wanted the record to sound “strange and good.” I’d say the band succeeded admirably.

“Little Black Cloud” is another track that, by all rights, should be a huge hit. The harmonies are incredible, the arrangements sparkle and anyone who’s ever been through a bad relationship can identify with the lyrics. “Holy Love” keeps the album from being an overwhelming downer. The optimistic lyrics blend perfectly with the thumping organ and dramatic arrangement to reaffirm that, despite all the travails in life, everything is worth it in the end.

With any luck, Universal/MCA will wise up and put this CD out in the United States. So much of what’s being forced onto radio and into stores these days is so dismal and contrived. When a gem like this comes along, it’s a shame to not even try to sell it to Americans.

—By Rudy Pannuci

THE CD: “The Fuse”
PERFORMER: Pennywise
WEBSITE: pennywisdom.com

How best to describe Pennywise? Hardcore punk is a good start.

“The Fuse” is the eighth release from the Hermosa Beach band. And, despite what you may hear from other members of the chattering class — let me set the record straight: They rock!

The band formed in 1988, so that makes Pennywise older than a lot of their fans. Cool. My first experiences with them were 1995’s “About Time” — which features two personal faves: “Peaceful Day” and “Perfect People” — and ’97’s “Full Circle” (’nuff said).

Fifteen songs, not enough time. That’s how I feel about this record. Pennywise has helped steer punk music away from its more mindless origins, towards a more mature attitude. We’ve all seen the old stock footage of the girl with the safety pin through her nose saying ‘I don’t care what I think.’ Not these guys.

Lead singer Jim Lindberg is among a growing contingent of musicians who say it’s OK to be informed, opinionated and political. Just like KRS-1, his lyrics are of the self-help type; antithetical to the poverty pimp mentality that has invaded youth culture, particularly music. His vocal delivery is rapid, and at the same time, easily understood. The lyrics are included in every CD, but you really only need it for reference.

Guitarist Fletcher Dragge is now an old pro, not just at getting in trouble with law enforcement. He shreds the tempo for the band. He’ll puke on you, screw your mom, and shoot you in the back with an automatic BB gun, just ask bassist Randy Bradbury.

“Knocked Down” opens the CD at a blistering pace. And, yes, the anthem does have some familiar favorites: sing-along choruses and hooks. Lindberg wants his listeners to open their eyes.

That’s just what he says on “Take a Look Around” On the chorus, Lindberg sings in his typical voice: They say you can’t make a difference/That you can’t make a change/It’s a cruel world/Full of hate and full of lies/And it’s time to re-arrange.

“Yell Out” has the whoas that we all know and love in our thrash. On “6th Avenue Nightmare” Lindberg sings about planned urban genocide, civic pride, living in hell, street life, and prison cells. Sounds like Shrewsbury.

I don’t mind if the band sounds the same as they did 10 years ago. I liked them then, and I’ll keep rocking them out. Look at what changing did for Metallica. Some fans hated them; say they sold out; me, I don’t care.

This CD does have a few noticable changes of style. But don’t fear: the band apparently left their acoustic guitars at home this time.

“The Kids” has a mellow guitar intro that you don’t hear frequently on a Pennywise record. Fletcher rides a phaser, something rare for the raw sound that has characterized the band.

And, if you thought Fox News could escape their wrath, forget it. On “Fox TV,” Lindberg calls Murdoch’s baby to task.

So, this is not a musically limited band; they just do what they do, and they do it well. Linberg gives into the Lo-Fi effect on some lyrics, as he has in the past, and that’s cool. The same type of effect is used on Fletcher’s guitar.

On “Dying” there is the civil defense siren, something that appeared on 2003’s “From The Ashes” and made me think it was the third Wednesday of the month each time I heard it. Or, that the sh_t had finally went down, maaan. Start hoarding water.

“Disconnect” seems like it was written by Teddy Kaczynski himself. It features cool samples of If you’d like to make a call, please hang up and try again and dial-up Internet noise. Lindberg has a problem with technology dumbing down the masses. Samples are something not featured too prominently on punk records, and that sucks. If you’ve heard 1999’s “Straight Ahead” and the band’s perverted version of Kennedy’s famous Ask not what your government… tripe, you know the band has some sight.

So, not much has changed with Pennywise. That’s why I actually paid ($) for the CD. Lindberg says it best on their Web site: “Loud, hard and fast — it’s what we’re comfortable playing and we know that’s what people expect from us. … With each record we just try and add subtle changes to the form without morphing into a completely different band, or worse, trying to keep up with the latest trends in music.”

Nick’s Note: If you want to give “The Fuse” a listen, click here to allow Knocked Down & Disconnect into your ears. These are songs on the album, duh.

—By Nick Harrah

The CD: This Bird Has Flown (Razor And Tie)

Various Artists interpret the Beatles’ “Rubber Soul”

Tribute albums can be problematic. By their very nature, you’re forced to compare the new interpretations of familiar songs to the originals. The novelty of a bulk batch of cover versions of songs can wear off quickly. Then you’re left with the job of deciding if the new version of each tune brings anything fresh or exciting to the song. This is even more of a challenge when a tribute album is a track-by-track recreation of a milestone like Rubber Soul by The Beatles.

Rubber Soul is a key to the Beatles’ transition from the “Mop-tops” of Beatlemania to the serious songwriters that they’re recognized as today. It marked a major progression in the evolution of John Lennon and Paul McCartney as songwriters, and the emergence of George Harrison as a compositional force to be reckoned with. To commemorate the 40th anniversary of its release, Razor and Tie has gathered together some of the leading lights of today’s alternative music scene to recreate this classic album (with the original British running order), and the results, as usual with this sort of project, are a mixed bag.

A typical drawback with this type of tribute album is that some artists are too timid with the material, basically just copying the original version note-for-note. While this approach can be pleasant, and remind us of how great the songs are, it’s not very satisfying in the long run.

On the opposite end of the spectrum are the artists who crash and burn. They either try to do something drastically different and fail, or they are simply not suited to handle the material.

The trick is to strike a balance between the two extremes. The best cuts on This Bird Has Flown allow the artists to establish their own identity within the songs, without murdering them. Dar Williams does a respectable version of “You Won’t See Me” that manages to sound fresh without slavishly duplicating the original version. Yonder Mountain String Band manages to use bluegrass instrumentation on George Harrison’s “Think For Yourself” without sacrificing the original version’s sparkling arrangement. This is a truly striking accomplishment. Ben Harper and The Innocent Criminals apply a light reggae touch to “Michelle” that works perfectly. Tad Leo takes on “I’m Looking Through You” with samples, a near-punk tempo and a truly hyper drumline that makes the song sound totally contemporary.

The album has a few contributions that are too respectful of the source material. The Donnas kick off the album with a version of “Drive My Car” that, but for the female vocals, could be the original recording. Ben Kweller’s version of “Wait” sounds so much like the Beatles’ recording that you might think it’s an out-take with fewer backing vocals.

We also have a few noble failures. Some of the artists (none of whom, I believe, were even born when Rubber Soul was first released) try to do something bold and new, and fall flat on their face. These are the “interesting” versions of the songs that only merit a curiosity listen. Nellie McKay attempts a lounge-jazz-samba arrangement of “If I Needed Someone” that totally destroys the beauty of the song. Sufjan Stevens apparently thought that Ringo’s country flavored showcase tune, “What Goes On,” would sound great if it were done up in the style of early-1970s Jethro Tull. It doesn’t.

For the sake of novelty and entertainment, there are a couple of absolute train wrecks on the album, too. In a “two lousy tastes that taste worse together” moment, the Cowboy Junkies, one of my least-favorite bands in the world, take on “Run For Your Life,” a song so bad that John Lennon later claimed to be ashamed at the abusive misogyny in the lyrics and called it one of the worst things he’d ever written. As usual, the Junkies run the song through their patented dirge-0-matic and create a recording suitable only for CIA torture sessions.

Surprisingly, that’s not the worst song on the album. The Fiery Furnaces turn in a very strange version of one of the Beatles’ most beautiful songs, “Norwegian Wood.” All I can say is that this recording is all the proof you need that stoned teenagers should never be allowed to listen to The Residents. This cut belongs on an album with recordings by William Hung and Moms Mabley.

Aside from the odd disaster, This Bird Has Flown is a typical tribute album. It can’t hope to compete with the original Rubber Soul. Face it, nobody does tributes to albums that aren’t already considered definitive. Still, it’s a happy little listen with a few outstanding moments, and except for some notable missteps, a fun trip through the Beatles’ “middle” era.

Artist: Kate Bush

CD: “Aerial” (Sony)

Not many artists can take 12 years between albums and pick right up where they left off, but with “Aerial,” Kate Bush proves it can be done. This is the comeback of the year. Kate has delivered a two-CD set that exudes class, sophistication and musical excellence.

The first disc of this set is titled “A Sea Of Honey,” but it’s really just a collection of songs that cover a wide range of topics. “King Of the Mountain,” the first single, relays the story of a reclusive elderly Elvis, living like Charles Foster Kane in a mountaintop Xanadu. “Pi” is a tune about a man’s infatuation with the mathematical formula. This song, which is not immediately, obviously humorous, cracked me up completely. Not many listeners pick up on Kate’s subversive sense of humor, but she is an honorary member of the British alternative comedy scene that spawned “The Young Ones” and “Absolutely Fabulous.”

“Bertie” is a mother’s tender, happy song about her son. Kate’s son, Bertie is 8 years old, and she was able to hide his existence from the British press for nearly three years, much to their consternation.

“Mrs. Bartolozzi” is a seductive piano, cello and voice piece that makes mundane household chores sound like a high holy calling. “How To Be Invisible” is the likely second single. This song, based on a book, but also analogous to Kate’s 12-year hiatus, is like a slower version of her 1985 hit, “Running Up That Hill,” but with eerie electronic interludes.

The emotional knockout punch of the first disc is “A Coral Room,” about her late mother. In this stark, striking elegy, Kate paints a picture of her loss and how she dealt with it. This is a powerful and beautiful work, and a fitting end to the first half of this collection.

The second disc of “Aerial” is titled “A Sky Of Honey” and it is a conceptual work. With music based on field recordings of birdsongs, this song cycle follows the progression of a day, told through the perspective of several different characters. It’s a joyous work, with touches of classical music, Spanish guitar, and just a hint of Celtic music in the mix. This is not her first long form song work. Side two of her “Hounds Of Love” album was a cycle called “The Ninth Wave” about a woman drowning. As impressive as that was, with “A Sky Of Honey,” Kate tops it, with a cohesive, musically adventurous work that is some of the most intelligent music of 2005.

“Aerial” is a major return to form. This album is a sublime musical accomplishment that will not only please Kate’s longtime fans, but should also find a following among a whole new generation, who were too young to appreciate her earlier work. Fans of Tori Amos, Fiona Apple and Regina Spektor should take the time to listen to the woman who inspired those artists.

Artist: Stevie Wonder

CD: “A Time To Love” (Motown)

Stevie Wonder’s first collection of new songs in 10 years treads carefully between the experimental jazz-fusion music he produced in the 1970s and the commercial pop that he churned out during the following decade. The result, though potentially disastrous, is a pleasant, mature CD, with enough mainstream appeal to keep the fans of “I Just Called To Say I Love You” happy, while at the same time, pushing the envelope just enough to prove that, at 55, Wonder can still innovate and kick up a decent groove.

For instance, “Sweetest Somebody I Know” seems like an idea that could be fairly sappy on paper, but brought to life by Wonder’s exquisite production, it blossoms into a laid-back semi-samba, with a killer bass line.

The opening track on the CD, “If Your Love Cannot Be Moved,” a duet with Kim Burrell, blends world music rhythms with contemporary pop arrangements and a touch of Flamenco, and qualifies as a minor masterpiece.

Another notable track is “How Will I Know,” a duet with Wonder’s daughter Aisha Morris, who made her recording debut as an infant on the song written in her honor, “Isn’t She Lovely.” The most striking track on the album is the sprawling, nine-minute title cut, a duet with India Arie, with Wonder’s old “Ivory” buddy, Paul McCartney on guitar. This epic tune sports a captivating African drum pattern and an amazing vocal arrangement that perfectly frames his plea for world peace.

This is not a perfect album. Fifteen tracks seems like a great value, but a couple of the lesser tunes could have been trimmed to make this a more solid album. But when one of the complaints about a CD is that it has too much music, then it can’t be bad. “A Time To Love” is a brilliantly crafted collection of songs for grown-ups. There’s something relaxing and reassuring about it, but it’s not boring.

The CD: “All Hail The Dead” (Trustkill)
Performer: Walls Of Jericho

If you like metal, you’re gonna like, or at least be impressed with, Walls Of Jericho. On their sophomore effort, “All Hail The Dead,” the Detroit-based five-piece puts their own spin on the hardcore.

When I say metal, what pops into your mind — Satan? Slow down, Benny. The thing that I like about WOJ is they thrash, up-tempo, 200-BPM style! But, as with a lot of music, there are parts I really like, and parts that make me push the little connected arrows on the CD player.

Guitarists Mike Hasty and Chris Rawson come out swinging on the opening title track. But you don’t have to sit there with your money in your hand waiting to buy the CD, as you can listen to their stuff right now here.

With lead vocalist Candace Kucsulain, this band has one thing that you can’t get off the shelf at FYE — balls. On “All Hail The Dead”, she shouts: “Our world is crashing down before our f—ing eyes. . . it’s time to fight this, the status quo. . . our broken families. . . your billboard barbie. . . All hail the dead.”

One of the coolest parts about their songs are the sing-along choruses and backing vocals. I can’t believe they’re not punk! On “Revival Never Goes Out Of Style,” I could swear that they sampled the ‘whoas’ off of the Pennywise song “Bro Hymn Tribute.” It would fit in well with the title of the CD if they did, but they have no need to do that — I mean, coome aaahhn.

As with a lot of acts, they’ve earned their reputation the hard way, by getting hit in the face with microphones and who knows what else. They’ve toured with Fear Factory (which, if you haven’t heard yet, give those guys a listen). I used to rock out a couple of their CDs, but lost touch with them after graduation.

You can check out the WOJ website here, and, go ahead, buy the CD here.