ShareThis"SWEET HEART RODEO," Dawn Landes (Cooking Vinyl)
Dawn Landes risks misleading consumers with the title of her new "Sweet Heart Rodeo." Despite the implications, her release isn't a full-on honky-tonk extravaganza; it's only a little bit country -- as well as a little bit indie-folk (think Aimee Mann), a little bit French pop (think Ivy), etc.
The genre-melder, based in Brooklyn and originally from Kentucky, does land in the country camp periodically, swaggering to prominent harmonica in the lilting "Wandering Eye" and the swirling "Sweetheart of the Rodeo," for instance. But don't count on her to be battling Taylor Swift for recognition at the next Country Music Association Awards.
By all rights she should be buried in accolades for "Sweet Heart Rodeo," however, if for nothing other than her gorgeous voice, which is eerily clear yet uncommonly natural. Her direct delivery is comfortable, unhurried and improbably captivating. This is the kind of singing that should win "American Idol," not go unnoticed in some eclectic, alternative-music niche.
In addition to the enchantment of Landes' vocals, "Sweet Heart Rodeo" is powerfully diverse, an ever-shifting dream with surprises at every turn -- the propulsive, honking rhythm on the distorted, alt-rock "Young Girl," the click-clack percussion and nod to Tennessee Ernie Ford's "16 Tons" on "Romeo," the Bontempi beat in the otherworldly "Clown."
Beyond that, the release is lyrically provocative as Landes take a deceptively sing-songy look at prostitution on "Little Miss Holiday," explores gender roles in "Young Girl" and, supported by atmospheric French horn, contemplates the meaning of life at the brink of death on "Money in the Bank." Her refrains are both penetrating and infectious, which makes them almost impossible to shake (not that you'd want to).
Like the cowgirl holding fast to her grip as she rides a bull on the cover of "Sweet Heart Rodeo," Landes bravely leads her listeners on an unconventional, and thrilling, journey.
Rating (five possible): 4-1/2
"JUNGLE," Makoto Ozone featuring No Name Horses (Verve Forecast)
"Jungle" is less of an Asian fusion than it is an Asian invasion.
Japanese jazz pianist Makoto Ozone leads a group of his compatriots, an ensemble known as No Name Horses, on a passionate big-band swing through a Latin-inspired "Jungle" that leaves Asia far behind.
Ozone's dexterity on piano is crucial, but so, too, is his willingness to fade into the background and let the other musicians take over. The rhythm section is key, with a mad flurry of percussion and drums keeping the vital energy going. However, the ample horn section provides an endless supply of boldness with various brassy blasts of trumpet, trombone and flugelhorn plus woodwind flavor from piccolo, clarinet and flute. Meanwhile, saxophone is omnipresent in all manner of varieties -- alto, soprano, tenor and baritone.
There's nothing subtle about the title-track opener, and Ozone has to pound the keys to stave off staccato bursts and odd bouts of dissonance from the band. That mania carries through most of the release, albeit with noteworthy diversions, and often "Jungle" simply explodes into frantic jaunts, as on "Coconuts Meeting" and "La Verdad Con Los Caballos."
Although Ozone is good at blending in, he's commanding when necessary, taking charge of the periodic rolls and fluffing up "Jungle's" soft side by guiding the ginger tone of the narcotic "Moon Flower" and by teaming with the bass for a striking interlude on "No Siesta."
Sometimes the release strays (as on a simmering "Cave Walk" that loses its purpose) and the energy is forced till it sounds contrived (as on a "Safari" that echoes other cuts without distinguishing itself). But there are also surprises like the sax-y burlesque romp on the whimsical "B&B."
All in all, there are more happy discoveries than disappointments to be found in this "Jungle."
Rating: 3-1/2
"BE IN LOVE," Locksley (Feature)
The rock quartet Locksley, which already featured two songwriters/lead singers in rhythm guitarist Jesse Laz and lead guitarist Kai Kennedy, risked projecting a multiple-personality disorder by letting a third member join the lead-vocal fray for its new "Be in Love."
It turns out bassist Jordan Laz (Jesse's brother) didn't significantly alter Locksley's cohesion -- partly because the Wisconsin band already has a scattershot sound. And with the festive atmosphere of the group's rough-around-the-edges tracks, the extra singer is just one more for the party.
The unassuming free-for-all of "Be in Love" makes the group instantly relatable, and though the band isn't a staple on the airwaves, Locksley has managed to land its music in several movies, TV shows, commercials and video games.
Despite the democratic approach in recording, however, Jesse Laz is the most consistent frontman. He's at the helm of opening track "Love You Too," a distorted and disarming slice of indie pop-rock freshness with the singer leading a raucous chant-along, "I want you, I need you, love you too." Jesse Laz also brings focus to the dreamy tone of the chugging "21st Century," and he spearheads the endearing call-and-response shtick of the life-affirming "Down for Too Long." His brother most notably offers a couple of ragged bar songs, "One More Minute" and "The Whip."
For his part, Kennedy contributes the waltzing romance of "Away From Here," which would have made swell music for a slow dance at an early-1960s prom.
Locksley is all over the place on most of "Be in Love" -- '70s, '80s, '90s, punk, pop, rock -- and although the cuts are generally amiable, they tend to be half-baked and forgettable.
Perhaps if they let drummer Sam Bair serve as a lead vocalist, too, he could bring it all together.
Rating: 3
(E-mail Chuck Campbell of The Knoxville News-Sentinel in Tennessee at Campbell(at)knews.com.)
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