Henderson, The title of Discipline was encouraging for those who prefer Janet taking control and cracking the whip (both as leader of her rhythm nation and the boss of her bedroom) over the vapid, single-girl come-ons of her previous three albums. Sal Cinquemani, 20 Y.O. Griffin is still a formidable center of gravity for a small army of eager collaborators, but the final product wants for some necessary fine-tuning. Your IP: 37.187.134.202 We’d love to hear from you and engage in any discussion. With the exception of the title track, though, the legendary disco duo’s contributions to Janet’s sophomore effort, Dream Street, fell far short of their iconic work with the likes of Donna Summer. In the album’s press notes, Veirs claims, “my songs knew I was getting divorced before I did.”. Old 97's - A State of Texas Big Orange Studios (Austin, TX), 12/21/2010. Sal Cinquemani. Janet’s least successful album isn’t without its pleasures though: Produced by brother Marlon, “All My Love to You” successfully apes Off the Wall-era Michael, while the sexy, nearly seven-minute “Pretty Boy”—courtesy of Jesse Johnson, who, along with Jam and Lewis, was part of the Time—provided a glimpse of things to come in Janet’s own oeuvre. “Just give me them babies,” Grande quips on “34+35,” while “Nasty” sounds like a Janet Jackson sex jam as sung by Mariah Carey—that is, a lot of empty pillow talk and plentiful dog whistles. Veirs looks to paintings and sculptures for guidance and solace at key points on My Echo. Her attempt at a guttural low range is unlikely to unnerve a house cat, while her backing players try to revive the golden-age Bassey music with results that are quickly forgotten. (Appropriately, she wrote the album hunkered down in her childhood bedroom in her London family home, where she also rode out a bout of Covid-19.) Grande is known for her witty turns of phrase, and there’s no shortage throughout Positions, the title of which is itself a cheeky double entendre. The album is defined by surprising positivity in the face of, not only the troubled times of the present, but decades of life on the road. Throughout the album, she talks to and interacts with a rather compassionate computer DJ named Kyoko, and her voice is robotic and synthetic on tracks like “Feedback” and the Daft Punk-sampling “So Much Betta”—not necessarily such a bad thing for an artist whose vocals often consist of unintelligible murmuring. Schrodt, After a sufficient opening in which moody strings swell over a dark, driving bassline, A-ha’s theme for the first Timothy Dalton Bond film falls victim to an irredeemable ‘80s musical trend: a noodling synthesizer riff that attempts “sleek and sinister” yet comes off as a show-offy try-out for an Emerson, Lake & Palmer cover band. On the rousing “Ghosts,” the E Street Band’s thunderous power does far more to convince of the transcendent nature of their music than Springsteen’s lyrics—penned for the late George Theiss, the singer in his first band, the Castilles. The Old 97s popped up in the mid-'90s alongside other alt-country acts, including some long gone (Whiskeytown, Uncle Tupelo) and the still-toughing-it-out (Drive By Truckers, Bottle Rockets). Inspired by her passing, “For Martha” is an eight-minute dirge of gothic piano that bursts into a wave of crying, razor-edged guitars at its halfway point. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. The sweeping opening track of 2018’s Shiny and Oh So Bright, Vol. Most Messed Up, an Album by Old 97's. While Veirs’s lyrics are consistently unsettled and sometimes apocalyptic, they largely sidestep concrete problems in her marriage beyond rare whisperings of infidelity and alienation. Detractors may believe that alt-rock revivalism is more interested in merely serving up a ‘90s bricolage than breaking new ground. The album highlights the artist’s shortcomings as much as it does his sly appeal. Letter to You isn’t exactly classic Springsteen, and it isn’t even the best studio album he’s made in the last decade—though I know most don’t share my affinity for 2012’s Wrecking Ball. Springsteen deserves credit for resisting the crowd-pleasing tug of this kind of album for so long that it feels like a warm homecoming rather than a retread. 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