Modern Blue

Music Review: Rosanne Cash – ‘The River & The Thread’

Rosanne Cash’s latest release illustrates how the label of country singer is far too limiting for a person of her talents. Perhaps she can be called a modern musician.

Here’s a look at the songs on The River & The Thread, which was produced and arranged by her husband, John Leventhal.

“A Feather’s Not a Bird” is a fine opening, as a Bonnie Raitt style attitude meets Creedence Clearwater Revival type instrumentation. It’s clear that there’s nothing tentative about Cash. She’s confident and in charge as she sings, “…a river runs through me.” “Sunken Lands” is unique as a blend of classic and modern country built upon a Johnny Cash pulse.

“Etta’s Tune” is an introspective love song that might have been written by Jackson Browne: “We’re just a mile or two from Memphis/And the rhythm of our lives.” One can easily visualize Tom Petty singing Cash’s rocker, “Modern Blue”: “I went to Barcelona on the midnight train/I walked the streets of Paris in the pouring rain/I flew across an island in the northern sea/I ended up in Memphis, Tennessee….” There’s also a touch of the Eagles in the lyrics: “Everybody around here moves too fast/It feels so good but it’s never going to last/Everything I had is twice what I knew….”

“Tell Heaven” is an unplugged song about faith. The Judds would have loved to have sung this. “The Long Way Home” is an angst-filled song about lost love that calls to mind Don Henley, Mark Knopfler and Carly Simon (“You’re So Vain”). It’s beautifully realized: “You thought you left it all behind/You thought you’d up and gone/But all you did was figure out how to take the long way home….”

“World of Strange Design” is a song about differences and discrimination, with a musical presentation that channels Dire Straits. “Night School” is a Tori Amos style ballad: “I’d give anything to be lying next to you/In night school.” The uplifting “50,000 Watts” is reminiscent of Bruce Springsteen’s “The Rising”: “To be who we are/And not just who we were/A sister to him, a brother to her/We live like kings/without any sin/Redemption will come, just tune it on in….”

“When the Master Calls” is a touching song about the Civil War which would have fit well on Elton John’s Tumbleweed Connection album. “Money Road” is the relaxing closing song about a dream, but the standard eleven-track edition of this album is only 38 minutes long. Consider purchasing the Limited Edition Deluxe version, which adds three additional songs and 10-plus more minutes of music.

“Two Girls” is the first bonus track on the Limited Edition, and it sounds like a song from Neil Young’s Harvest Moon album. “Biloxi” is one of the great songs written by the late Jesse Winchester: “Beautiful girls are swimming in the sea/Oh, they look like sisters in the ocean/The boy will find his path with salted water/And the storms will blow off toward New Orleans.”

“Southern Heart” is a short, 2 minute long, song with plucked violin strings that would have been a great single in the 1960s; it’s a song very much in the style of the Andy Williams hit, “Can’t Get Used to Losing You.”

Cash has laid out her musical skills for the world to see on this release. It’s a highly recommended masterpiece or very close to it. But forget the ratings, just think of this as a near priceless gift delivered by Cash to her fans, current and prospective.

Joseph Arellano

A review copy was provided by Blue Note Records.

This review was first posted on the Blogcritics site:

http://blogcritics.org/music-review-rosanne-cash-the-river-the-thread/

This review was also used by the Seattle Post-Intelligencer:

http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Rosanne-Cash-The-River-The-5411097.php

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The Waiting

Music Review: Benmont Tench – ‘You Should Be So Lucky’

Is Benmont Tench’s solo album just competent or is it more than that?

Benmont Tench has been in the music business for thirty-four years. As a member of the Heartbreakers, backing Tom Petty, there’s little doubt that this keyboardist’s first solo effort would display musical competence. But does it soar? Let’s take a look at the tracks on You Should Be So Lucky before arriving at a verdict.

The nearly 46-minute long album opens with “Today I Took Your Picture Down,” on which Tench provides a Bob Dylan-style vocal and lyrics: “Today I took your picture down…/The eyes that followed me around/Daring me to stare them down/Today I turned my back on you/The celebrated face that stole a piece of/Every soul that wandered through this place.”

There’s a piano sound that might have been inspired by the E Street Band. It’s a fine, confident opening that nevertheless fails to take off.

“Veronica Said” sounds as though it was recorded immediately after Tench had listened to Lou Reed singing “Sweet Jane.” Enough said.

“Eccor Rouge” is a film noir movie soundtrack-style jazzy piano instrumental. It manages to destroy whatever momentum had developed from the previous tracks. Boring. “Hannah” is a love ballad from the school of Mark Knopfler and Dire Straits: “Hannah, if this is a dream/The kind that don’t come true/You’re worth every mile I ever drove for you….”

“Blonde Girl, Blue Dress” was released as a single. It sounds like Tom Petty and the Heartbreakers with Mr. Petty on bass guitar and Ringo Starr on tambourine. It’s catchy but not quite exceptional.

“You Should Be So Lucky” is the title song and it is the highlight of the album. It’s like a lost track from a Traveling Wilburys album and contains some adult-rated language.

Tench covers the traditional “Corrina, Corrina” using Dylan’s arrangement. It comes off as flat; it does not whistle or sing. “Dogwood” is a song with religious connotations that, like its protagonist, is pretty much without direction.

“Like The Sun (Michoacan)” is a very good, very short, track that brings to mind a contented George Harrison. Unfortunately, it’s followed by “Wobbles,” another instrumental and another throwaway. On “Why Don’t You Quit Leaving Me Alone” Tench sings: “Every radio station plays the same forsaken song….” They probably would not play this Randy Newman knock-off.

“Duquesne Whistle” concludes the album. Dylan’s original bouncy version displayed moxie and sly charm, qualities that are mostly absent here. The life has pretty much been removed from the song, which is a shame. It’s a less than satisfying ending.

This album might appeal to those who are attracted to laid-back, understated and low energy recordings. However, for most listeners I fear it’s the equivalent of going to Starbucks and being handed a cup of unleaded coffee.

Joseph Arellano

A review copy was provided by the record company (Blue Note).

This article first appeared on the Blogcritics site:

http://blogcritics.org/music-review-benmont-tench-you-should-be-so-lucky/