HOUSTON WHITNEY I LOOK TO YOU
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Not so long ago, a 13-year old Taylor Swift set out to be a star and moved from Reading, Pennsylvania, to Nashville. By 14, she had a publishing deal, and by 15, a recording contract. In these days of Bianca Ryan (and before her, Tanya Tucker and LeAnn Rimes), many are called, but few are chosen. Swift, it appears, is one of the chosen ones. Her vocal talent is modest, though sweetly affecting, her style seemingly influenced by the radio hits of early Sheryl Crow and Michelle Branch, and perhaps Cyndi Thomson. And at times, her youthfulness shows--she encoded messages in the lyrics of her CD booklet, starting with the name of the boy who cheated on her from "Should've Said No" (the album's strongest offering). But in writing or co-writing all 11 songs on this debut, Swift demonstrates remarkable maturity, particularly in crafting a hooky, radio-ready chorus. Though she sounds ridiculous looking back from the perspective of an 87-year old woman on "Mary's Song," to her credit she mostly writes about what she knows--unrequited high-school crushes ("Teardrops on My Guitar"), teenage angst ("Tied Together with a Smile"), and complete immersion in starry-eyed romance (her breakout hit "Tim McGraw"). Swift has such wistful charm and tunefulness that only a curmudgeon could dismiss her, and in fact, more than 60,000 fans lined up to grab this CD the first month of release. No wonder Rascal Flatts and George Strait added her to their tours. Look out, Carrie Underwood--there's a new kid in town. --Alanna Nash
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It sometimes feels as though the Lovin' Spoonful have been reduced to a footnote in the history of rock & roll. Yet few of their contemporaries could match the likes of "Daydream," "Summer in the City," and the transcendent "Do You Believe in Magic?"--a song that can still turn January into June. Legend has it that the Spoonful auditioned for The Monkees, and they'd have been good in those roles, having the right candy-sweet sound and a warm humor in constant evidence. But it wouldn't have lasted: lead songwriter John Sebastian was too willful and idiosyncratic, coming on like an American Ray Davies on songs such as "Younger Generation," a prescient meditation on the hippie generation's future parental dilemmas. Greatest Hits is a fine 26-song introduction to a perennially underrated band. --Taylor Parkes
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In 2011, after more than 20 years of intense gigging and recording, Chris Robinson set off to shape something new, a fresh rock mythology, a breathing kaleidoscopic thing stuffed with chooglin soul, bedrock boogie and shuffling wisdom birthed in intimate clubs and amongst the tall trees of the Golden State and eventually taken nationwide as the Chris Robinson Brotherhood evolved.What began as an experiment without expectations turned into a 118-show journey for Robinson (lead vocals, guitar), Neal Casal (guitar, vocals), Adam MacDougall (keys, vocals), George Sluppick (drums) and Mark Dutton (bass, vocals) that surprised these seasoned pros as music of unshakeable solidity and exuberant reach poured out of them, a New Cosmic California sound with tendrils reaching to the original Fillmore West, Topanga Canyon and outwards towards far horizons.The music of the Chris Robinson Brotherhood finds its fruition on their studio debut album Big Moon Ritualdue out June 5 via Silver Arrow/Megaforce Records, to be followed by companion album The Magic Door in September.
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JENKINS KATHERINE DAYDREAM
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One of Rush's finest moments, second only to Moving Pictures. This album includes two classic songs, "The Spirit of Radio" (which has one of the most recognizable guitar riffs in all of rock) and "Freewill." There's also the epic-feeling "Jacob's Ladder," as well as "Entre Nous," a sort of intellectual love song (if such a thing can be said to exist). The introspective "Different Strings" and the anthemic "Natural Science" (which clocks in at over nine minutes) close the album. Though there are only six songs on Permanent Waves, it's enough; the material is rich enough that more of it would be like overdosing on chocolate. -- Genevieve Williams
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