Artist: The Pipettes (www.interscope.com)
Album: “We Are the Pipettes” (Cherrytree/Interscope).

If you’re primed for some light-hearted, dance-crazy post-holiday fare, may I recommend the debut by the Pipettes? After the opening title track, which successfully takes its cues from the riotous B52’s, this trio of British flappers (Riotbecki, Gwenno and Rosay) have captured — and expanded on — the essence of ’60s American girl pop.
From there, they effectively mine the sonic and spiritual vaults of classic ’60s girls groups.

“Pull Shapes” (the Pipe’s second single) switches gears to a revved-up Chiffons, complete with a Phil Spector-inspired wall-of-sound production, while the faux dramatic “Judy” and “A Winter’s Sky” are perfectly executed, lush and gorgeous pop tunes. No need for a libretto, this music is just for fun — and fun it is. There’s plenty of poppy, punky sass (and humor) on tracks like “Why Did You Stay?,” “Dirty Mind,” “It Hurts to See You Dance So Well” and the hit “ABC.” But it’s “Your Kisses Are Wasted on Me” that hits paydirt on all levels: it’s campy, catchy, has a great chant (the title) and a total ’60s AM rock groove.

– By Michael Lipton 

Artist: Jason Collett (www.arts-crafts.ca)
Album: “Here’s To Being Here” (Arts & Crafts)

As a member of the wildly prolific Broken Social Scene, Jason Collett is a long-standing member of Canada’s indie elite. Following up ’06’s “Idols,” “Here’s to Being Here,” Collett has simply outdone himself. The sound of the Howie Beck-produced album is simple and engaging with lots of space (an undervalued musical component), and the tunes are pleasantly down to earth.

From the opening musical and melodic hooks of “Roll On Oblivion,” the songs and performances are effortless, and the sonic choices are perfect. A bit of a chameleon, Collett offers up his best George Harrison on “Sorry Lori,” and while half singing “Out of Time,” he sounds like a charming cross between Dylan, Paul Simon and Lou Reed. Elsewhere, on “Charlyn, Angel of Kensington,” he concocts a simmering and funky, syncopated groove, and “No Redemption” has a breezy, banjo “Everybody’s Talkin’” feel.

There’s no escaping the feeling that you’re hearing not only what resides in Collett’s head but what it would sound like to hear him in a living room. As of late, Collett has been in good company, opening for Feist, Calexico and Josh Rouse. Let’s cross our fingers and hope for a “Mountain Stage” appearance.

– By Michael Lipton 

Artist: Betty Harris (www.evidencemusic.com)
Album: “Intuition” (Evidence)

Following a hiatus that has lasted for more than three decades, dynamic soul singer Betty Harris is back. The 16 tunes on her first release since the late ’60s shows that Harris — who worked and recorded with Big Maybelle, Allen Toussaint, Lee Dorsey, Otis Redding and James Carr — still has pipes and attitude to spare.

The opening, “Is it Hot in Here,” is a swaggering and rocking R&B track that at its best moments sounds like Etta James fronting the Stones. While the songs (mostly written by producer/multi-instrumentalist Jon Tiven and the bassist, his wife Sally) fall mostly on the rock side of soul, which is not necessarily Harris’ strongest suit, she aggressively grabs hold of each tune, determined to make it her own.

“Since You Brought Your Sweet Love,” a soulful duet with Freddie Scott, stands out, as does the bluesy, minor-keyed rocker “Who’s Takin’ Care of Me” and the slide guitar-driven “Time to Fly” (co-written by Bonnie Bramlett). “Need” sounds ready-made for a duet with Bonnie Raitt but it’s the closer, “Happiness is Mine,” co-written by Harris, that clearly sums up the attitude of someone who, after decades, is reveling in once again doing what she loves.

— By Michael Lipton

Artist: Voodoo Katz (www.voodookatz.com)
Album: “Glimpse” (self-produced)
LISTEN: Hear the first track off the CD

The second release from Charleston’s Voodoo Katz successfully delivers the warm, rhythmic grooves that have made the band a staple on the Charleston club scene. However, this time around, the tunes — with influences ranging from funk and R&B to pop and world beat — are more focused, sounding less like individual contributions and more like the work of a band.

The title track moves from syncopated, rock-infused verses to a free and easy chorus that underscores the band’s positive vibe. In particular, the soaring spirit of Derick Kirk, who, at 28, lost his battle with cancer in July, is ever present. Throughout, the interplay between Mark Davis’ clear vocals and Kirk’s melodic sax lines are pleasantly reminiscent of the catchy, ska-pop of the English Beat. Read the rest of this entry »

Artist: Patterson Barrett (www.pattersonbarrett.com)
CD: “I Must Be Dreaming” (So’ Fish)

Don’t be put off by the awful cover (a small winged Barrett hovering around his own head in the clouds) or the erratic production. There’s something about this CD that comes through loud and clear: Barrett’s earnest and charming songs and playing to match. His voice is so “real” and guileless it’s sometimes off-putting — at times, almost a bit amateurish — but it’s also what makes him so convincing.

Beginning with “Take The Stage” which combines the laid-back, no-nonsense rock ’n’ roll of Little Feat and Los Lobos (and a killer guitar solo by guest Buddy Miller), the songs are simple and to the point. Influenced by Southern California country rock, you can hear strains of The Eagles (“Back In My Heart” and “Sleeping”), Neil Young (“She Won’t Be Getting Any Sleep Tonight”) and Jackson Browne (“I Don’t Want To Dream About You Anymore”). Elsewhere, he puts on a singer/songwriter hat with the gentle, acoustic-based “Concrete & Steel” (with harmony vocals by Julie Miller) and “I’ve Been Loving You For Such a Long Time.” The disc closes with a song that reunites Patterson with his high school sweetheart, Deborah Holland of Animal Logic.

While there’s a thread of honesty and soulfulness that runs through “I Must Be Dreaming” both in the songs and performances (check out the rocking “Leap of Faith”), Barrett’s anything but a newcomer. The Austin-based multi-instrumentalist (guitar, mandolin, steel, accordion) is a member of Partners in Crime (with Buddy and Julie Miller), has backed up Nanci Griffith, Al Kooper and Chuck Berry. Trust me, this one will grow on you.

— By Michael Lipton

Artist: Bob Thompson (www.colortones.com)
Album: “More Joy to the World” (Colortones)

Nine years after the release of the first set of holiday tunes culled from Bob Thompson’s annual “Joy to the World” production, Charleston’s beloved pianist has issued a second installment. And the opener, a beautiful, extended take on the traditional “March of the Magi,” proves the he’s got plenty of great material in the hopper.

Featuring his “new” band (drummer Tim Courts, bassist John Inghram, guitarist Ryan Kennedy and saxophonist Doug Payne) the tune begins with a drum cadence that leads into the minor-keyed melody and a full bevy of solos. Pay particular attention to Kennedy’s solo — a fluid and melodic ride that evidences how his playing continues to grow by leaps and bounds.

In addition to jazzy takes on “O Tannenbaum” and “The First Noel,” Thompson’s own “The Sleigh Bell Song” is another standout with Doug Payne providing the circular melody on his Ewi, and the solo section switching gears to 7/4 time. After Thompson’s solo “Ding Dong Merrily on High,” the disc ends with the sole pair of vocal tracks. Recorded in 2000, “’Twas the Night Before Christmas” is the oldest track and features bassist extraordinaire Dwayne Dolphin along with one of Thompson’s rare vocal performances — a spoken rendition of the poem over a simmering, funky groove. Blues belter Toni Lynn Washington, Thompson’s 2002 guest vocalist, joins forces with The Appalachian Children’s Chorus to close out the disc with a mellow version of “Silent Night.”

– By Michael Lipton

Local musician and writer Michael Lipton is joining the New Sounds blog. His short reviews will focus on albums by regional artists and artists appearing in the area.

Artist: The Staple Singers (www.concordmusicgroup.com)
Album: “The 25th Day of December” (Riverside)

Out of print for a ridiculous 45 years, the Staple Singers’ Christmas collection should be in rotation with holiday perennials by Esquivel, the Beach Boys, James Brown and NRBQ. Steeped in gospel, the Staples’ trademark sound also evokes the early days of the ’60s civil rights movement when the tack was nonviolence. And, indeed, Pops Staple has one of the most angelic voices ever recorded. Together with progeny Mavis, Yvonne and Pervis, they made up one of the finest (and grooviest) vocal combos ever.

“The Last Month of the Year” opens with an old-style, gospel call-and-response. The groove — built on Pops’ signature guitar sound, Maceo Woods’ churchy organ and drummer Al Duncan’s propelling beat on brushes — is damn near irresistible. Ditto with “The Savior is Born.” Elsewhere, they transform the normally upbeat “Go Tell It On the Mountain” into a mournful, minor-keyed lament while “Joy to the World” would be right at home in a country church (white or black).

But this collection isn’t about the usual Christmas fare (except perhaps the deep, tremoloed version of “Silent Night”). It’s songs like “No Room at the Inn” and the swaying soul of “There Was a Star” that capture the real essence of the holidays. On second thought, no matter what holiday it is, Pops’ “Holy Unto the Lord” will make you thankful you’re alive.

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Artist: Pam Tillis (www.pamtillis.com)
Album: “Just in Time for Christmas” (Stellar Cat)

At another end of the Christmas spectrum is country singer Pam Tillis’ first holiday release. That Tillis, a fine singer who has sold more than 6 million records, felt the need to start her own label to escape Nashville’s fickle confines is a statement in itself. However, her “Just in Time for Christmas” is not the work of an upstart but a classic singer who appreciates tradition and has mixed old and new with great care.

With nary a pretension, she takes on classics like “Have Yourself a Merry Lil’ Christmas,” “Jingle Bell Rock” (part of a medley recorded with her father Mel), Willie Nelson’s “Pretty Paper” and “I’ll Be Home For Christmas” with ease. Meanwhile, as she says in her liner notes, she hopes that new songs like “Beautiful Night” and “Seasons” will “fall as easy on the ear as soft, morning snow.” And they do, partially because of the musicianship (notably Bob Patin’s Floyd Cramer-styled piano and Tommy White’s steel work) and the tunes — but mostly because great voices are never out of style.

— By Michael Lipton

The Artist: Queen
The CD: “Queen Rock Montreal”
The DVD: “Queen Rock Montreal”

With the frontman for the band having been deceased for nearly two decades, the folks maintaining Queen’s catalog have had to be pretty creative in mining product that can be recycled. In this case, they’ve gone back to a previously-released video, restored it, expanded it to its original running order and have cranked out both a DVD and a 2-CD set called “Queen Rock Montreal.”

As live recordings go, this is top-notch. It was the only Queen concert shot on film, and the band was at the top of their arena-pleasing form. Previously released on VHS in edited form as “We Will Rock You,” this is a document of the last night of the last North American tour by the original line up of Queen with Freddie Mercury, Brian May, Roger Taylor and John Deacon. This was recorded in November, 1981.

Read the rest of this entry »

Performer: Robert Plant Alison Krauss
The CD: “Raising Sand”

The idea of Robert Plant, the aging rock god of Led Zepplin, teaming up with the darling of new bluegrass, Alison Krauss, just looks wrong on paper. Thank God this is music, not paper. The two sang together at a tribute concert to Blues legend Leadbelly, and hit it off. Their voices blend in one of the most wonderful, if unlikely combinations I’ve heard in years. Read the rest of this entry »

Performer: Paul McCartney
The CD: “Memory Almost Full”

It’s no secret: Sir Paul has had a rotten year. A bitter divorce and a custody battle with his much-younger second wife, with his vast fortune at stake and the British tabloids eating up every minute of it with a spoon — that has to make your life seem fairly miserable at times. Luckily for us, when artists go through rough times, sometimes the result is a truly remarkable creation.

“Memory Almost Full” is McCartney’s best work since 1980’s “McCartney II” (which was recorded at another tumultuous time in McCartney’s life, following his fabled Japanese drug bust and eight-day stint in a Tokyo jail). This is the former Beatle’s first album in years that doesn’t suffer from the sheen of contentment that makes much of his post-Beatle music a little hard to take. When I reviewed McCartney’s last CD, “Chaos and Creation In The Backyard,” I noted how hard it was for him to produce music that stood up to his incredible catalog. With this CD, he has delivered an album that stands among his best. Read the rest of this entry »