Day I Forgot
Pete Yorn
Columbia Records
(out of five)

So I thought that this Pete Yorn character was all commercial hype, a big record company just using its advertising stronghold excessively to sell another struggling troubadour to the teeny bopping masses. True, on the surface Yorn would find himself in the Eliot Smith and Jim O’Rourke singer/songwriter genre. That genre is difficult to sell to the TRL crowd. But what sets Yorn apart from the thousands upon thousands of struggling songwriters are values expressed in his release, Day I Forgot.

Yorn’s talent spans both the musical and lyrical. The album's overall upbeat and musically robust melodies are a backdrop to powerful and melancholy poems of memories, heartbreak, sarcasm and regret, painting a compelling catalogue of musical statements.

Though each song is definitely doctored and aggrandized with slide guitars, mandolins and glockenspiels, the ensemble's presence doesn't upstage Yorn's simple guitar and voice. Day I Forgot sets Yorn not only as a staple in the modern Folk music genre, but his true musical emphasis bears arguable comparison to a young Bob Dylan.

Yorn exudes a voice that emphasizes importance and seriousness in his modern folk-rock. He has transcended learning the guitar solely to woo a drunken sorority pledge into a fold-out futon with a few Nirvana chords. To Yorn, there seems to be greater glories. Sometimes I just don't understand artists.

Pursuit of Happiness
Weekend Players
FFRR Records
(out of five)

Once in a very great while, there are those magical times when voice, sound and appeal fit unblemished, leaving listeners eager to hear more. The UK based group Weekend Players’ album Pursuit of Happiness is a debut that leaves the listener speechless.

It is very rare for a duo to possess the musical prowess that Nottingham-based Rachel Foster and Groove Armada's Andy Cato exude. Pursuit of Happiness gracefully incorporates genres from Tribal ambience and Drum and-Bass syncopations to Jazz and neo-soul melodies.

Although Foster was born in the UK, he spent significant time in the United States until returning to England at the age of 12, with a rather experienced and trained ear for ’70s U.S. disco and funk.

When she was of age, Foster unleashed her vocal talents. A soul-piercing sultry voice became her means of a profession. At first, Foster immersed herself in the local scene in Nottingham, until she hooked up with Groove Armada’s musician and producer Andy Cato.

Cato’s and Foster’s melodic beauty and duality radiate a melodic harmony and depth that’s evident on the album and that has not been seen in any other recent DJ/Vocalist group pairing.

Foster's voice projects a depth and passion not heard since Sade. Yet her beautiful vocals shouldn't be reduced to comparison, rather appreciated.

Cato’s melodic talents and production are seamless alongside this up-and-coming sensual diva. The duo is stainless and definitely worth checking out.
This is, without a doubt, the best dance album of the year.

14 Shades of Gray
Staind
Elektra Records
(out of five)

14 Shades of Gray by Staind is another album whose title displays an overall accurate consistency and seems quite fitting. The album is not dreadful, the album is not majestic. No, it falls in the category of “eh…” Definitely a gray area.

The lyrics are standard and all too-common struggles of insanity and unrest. Each song sounds the same as the last, and makes for a dull and “Gray”-ish overall product. What makes Staind marketable and exalted (however slight) from many other alt-rock acts lies in Aaron Lewis' remarkable and identifiable singing styles. Lewis singing “The Facts of Life” theme could make your hair stand on end.
Mix these vocals with dark bass and simple guitar parts and you’ve got yourself a decent little alt-rock cocktail. The problem, again, lies in the strength of the lyrics.

Shades of Gray consistently lacks something. Maybe it is time, maybe it is effort. Could be that the band hasn't tapped into inspiration, or has been seeking inspiration from the wrong sources.

My advice is to at least try chasing the dragon. Yes, of course, I am talking about heroin. Now that always seems to make for some cooky lyrics. Hey, it worked for Stone Temple Pilots, Red Hot Chili Peppers and Smashing Pumpkins. I mean, what's a little heroin done to anyone? Huh?

True Reflections
Boyd Tinsley
BMG Records
(out of five)

During a brief hiatus, Boyd Tinsley, the respected fiddler from the Dave Matthews Band, released a solo project called True Reflections. Surprisingly enough, frat boys have maintained their calm composure.

Born and raised in Charlottesville, Va., in the same neighborhood as DMB drummer Carter Beauford and saxophonist Leroi Moore, Tinsley both studied and listened to every style of music under the Southeast coastal skies. True Reflections consistently resounds this fact and makes for a very diverse and well-performed compilation.

What makes this album really stand out is the fact that his fiddle comes second to his seldom heard vocal talents. Tinsley’s smooth and raw voice moves perfectly along with the album’s distinct and mellow melodies. Not to mention, Tinsley performs a great rendition of Neil Young’s “Cinnamon Girl.”

The album has some great guests as well. Among others, The Dirty Dozen Brass Band and Dave Matthews make great appearances and definitely add to a complete album filled with great soulful and vast styles.

True Reflections is a great addition to any library, frat boy or not.

A Beautiful World*
Thicke
Interscope Records
(out of five)

ALAN THICKE'S KID?!?!?! Big fucking deal. If that piece of media trivia was the ace-in-the-pocket that got one Rob Thicke into the recording room, more power to Interscope and the Thicke family, because the kid’s got some pipes.

But that’s not all.

From beginning to end, Thicke’s (just Thicke) A Beautiful World glimmers with a soulful luster. Mr. Thicke, singer/songwriter and pianist, confidently performs music from the heart.

Though many of the album’s soul and disco songs display Thicke’s heavily breathed vocals, the man is Stevie Wonder reincarnated. (I know Stevie isn't dead…that's what makes it so damned eerie!)

Sadly, however, both father and son carry a similar burden of catering to an ever-dwindling core audience. Where Alan Thicke relies on his Game Show Network fanbase, mostly made up of frail, cranky, staircase-avoiding octogenarians, Rob Thicke finds himself bringing up the rear of a soul train slowly leaving town—nearly forgotten, yet incessantly sampled by the next hip-hop mogul.

The neo-soul/acid jazz candle is quickly dimming, and just like Musiq, Remy Shand, Terence Trent D'Arby and Maxwell, this blue-eyed soul troubadour will find himself alongside funky fellowship, fighting an uphill battle to rekindle the invaluable and nearly forgotten genre.

Though the future remains uncertain for Mr. Thicke, his first installment is good and he could very well find himself as the ace in-the-pocket that can help save neo-soul and acid jazz.

*If you think you already read about this album last week, you're wrong!! This is an entirely different review. --jp
pete@red-mag.com