FOO FIGHTERS WASTING LIGHT
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It seems odd that the Band emerged in 1968, defying the counterculture's extravagant rejections of U.S. culture with literary, often Southern-tinged musical and lyrical vehicles. Hearing this 18-song anthology, with its heavy weighting toward the Canadian quintet's first three albums--Music from Big Pink (four tunes), The Band (five tunes), and Stage Fright (three tunes)--what still stands out is the Band's command of yearning vocal harmonies, their sense of plainly laid melodies that reveal acoustic depth, and a nostalgia for an imagined American culture. With all their quirkiness and the advance of Robbie Robertson as their centerpiece, the Band lost their celebrated place in the rock pantheon within a decade. This set, which opens so magnificently with "The Weight," "Tears of Rage" (cowritten with Dylan), and the big organ-vamping "Chest Fever," declines rather steeply on the final tracks, "Acadian Driftwood" and "The Saga of Pepote Rouge." Up till then, however, this set is fantastic. --Andrew Bartlett
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VARIOS INTERPRETES 2012 GRAMMY NOMINEES
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Maroon 5 aren't the first band to fuse R&B and rock, but they certainly are one of the most convincing. One can almost hear Stevie Wonder's beaded braids clattering in time to their deep, funky grooves. At best, the band conjures up latter-day Motown, complete with a shuddering organ and hyperbolic vocals; at worst, they sound like a stylized boy band, with all the attendant close harmonies and dramatic pauses. But despite these musical schisms, Maroon 5 are a thoroughly engaging outfit, thanks to throbbing bass lines, hooky songs, and lead singer Adam Levin's swaggering delivery. --Jaan Uhelszki
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Irish troubadour Damien Rice doesn't so much reinvent the folk genre on this lush, impossibly mature debut album as push its boundaries in several compelling musical directions at once--all the more remarkable considering the album was largely self-produced and home-recorded. His songs revolve around familiar, bittersweet concerns of life, love, and their attendant frustrations, but delivered with conspiratorial intimacy on melodic wings (like on the graceful "Cannonball") that Rice seems almost embarrassed to share. If there's anything like a template here, it's "The Blower's Daughter," the song that first attracted the interest/stewardship of film composer David Arnold (whose guest production provides "Amie" with expansive cinematic elegance) and became a massive Irish hit. His plaintive vocal, embroidered by the mournful solo cello of Vyvienne Long, is suddenly brightened by an instrumental flourish and Lisa Hannigan's vocals--before just as quickly wafting on the breeze. With touches that range from "Day in the Life"-styled string collages to the dizzy, exhilarating neo-operatic excesses of the 16-minute "Eskimo," Rice's musical palate here is as adventurous as his songs are grounded in emotional intimacy. --Jerry McCulley
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