I wouldn't blame you if you thought I was nuts for not loving this.
They play multiple electric guitars and sing harmony like the Wrens, so what could go wrong? My first listen bordered on the ecstatic.
After a few listens, though, it started to wear. The main reason was the extremely poor sound. My copy sounds like it was pressed from a poor-quality cassette version. It muffles the punch of the guitars and any other feature that may have distinguished them from a dozen other talented bands.
This should be right up my alley but it ends up falling short, even though there are a couple of brilliant moments.
B+
Elizabeth Cook: Welder (2010)
Knowing her vocal range makes Dolly Parton sound like Satchmo, I was expecting extreme country verging on bluegrass, and braced myself.
But Ms. Cook wants more than that. While the music is largely country, she never settles for a banjo when an electric guitar is handy.
The ballads, like "Heroin Addict Sister", are sad but never overly sweet. The rockers rock in a fairly commercial but straightforward way. And while men sometimes let her down, she knows they can be a lot of fun, too. It makes her a hell of a lot more interesting.
It's quite lively. And if not quite compelling from beginning to end, I never feel like it's work.
A-
Ya Ntesa Dalienst and Le Maquisard: Belalo (1992)
This is the lead singer and band for African legend Franco. I picked it up along with several other pop/rock records that I could actively enjoy while I absorbed this excursion into World Music. No need, as it turns out.
This one is as or more tuneful than any of those other records I got at the time. The guitars are a joy throughout, the horns are never overdone and the rest of the band moves swiftly and nimbly.
Anyone who doesn't like it needs to get out more. (Okay, wait until the pandemic is over. But then head over to Africa.)
A-
Teddybears: Devil's Music (2011)
Positively Satanic in its catchiness. It's just your typical Swedish techno/pop/rock/rap/bubblegum record. And if you can either ignore or embrace the silliness, you'll notice how good it is at all of the above. The chord progressions are the best money can buy and it just never lets up.
And they don masks a la Daft Punk, except they're, uh.., teddy bear masks. Somewhat scary ones, so there's that.
Plus they have guest stars up the wazoo, including the B-52s (who I can't really hear) and the Flaming Lips (who I definitely can hear).
Even though my first listen helped me put a desk together, I still secretly wanted to hate it for its shameless commercialism (whatever the hell that is anymore). I expected to play it one or two more times tops. Now, after a couple of dozen listens - usually requested by Mrs. Jaybee - I feel it's a crime it wasn't a huge hit.
Back in the day commercial crap stood for something.
A-
Various Artists: Township Jazz and Jive (2007)
This collection of South African jazz from the late fifties and early sixties - directly influenced by American jazz from prior decades - is something of a miracle. The band and song names are sprinkled with enough American references - Yanks, Manhattan, Hollywood - to make one fear blatant imitation.
No worries though. The singing is great, the music sweet, and the joy utterly African.
A
Here's hoping 2022 is on par. I'm willing to trade off a little musical quality for a little less insanity, though.
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