New album: Mechanical Bull
Artist: Kings Of Leon
Label: RCA
Rating: 3 stars out of 5
The title of the latest Kings Of Leon album is one syllable shy of aptly describing what's left of the music industry. Even so, the band seems intent on hanging in there.
For a band to make it past the two-year mark these days borders on triumphant, as the title of Kings Of Leon's latest album may or may not attest to. As on previous releases by this band, "Mechanical Bull" isn't brimming with originality but there is enough earnest determination to pull the whole thing through to the land of the pretty good.
Caleb Followill is unquestionably one of the best vocalists in mainstream rock. For proof, give lead single "Supersoaker" a spin and revel in the lack of Fall Out Boy-isms in his delivery. The song itself is decently constructed, but its Caleb Followill's pure approach to the microphone that makes it something bordering on special.
Another thing "Mechanical Bull" has going for it is the interplay between guitarists Matthew Followill and Caleb Followill. There's plenty of barre chord power to be sure, but the subtle flourishes from the Townshend/Edge playbooks create a colorful audio palette throughout. Josh and Nathan Followill (bass, drums) shine brightly on the moderately funky "Family Tree", proving to be a solid rhythm section that can ride in the pocket with the best of them.
If this album has a deficit, it's a lack of memorable songs. There are no bad songs here, but there aren't many that seemed destined for anyone's long term memory. Arguably the best of the bunch is “Comeback Story,” with chiming guitars providing the perfect canvas to yet another sterling Caleb Followill vocal.
"Mechanical Bull" most likely won't win over any new converts, but if you're already a Kings Of Leon fan you'll find enough pleasure in it to warrant the purchase.
Classic album: Return Of The Repressed/The John Fahey Anthology
Artist: John Fahey
Label: Rhino Records
Rating: 5 stars out of 5
Even on his first commercially available recordings released in 1959, John Fahey's style and abilities set him apart from other musicians.
Fahey predominantly performed instrumental music on solo acoustic guitar, yet his work has an orchestral flair to it. Album titles such as "The Transfiguration of Joe Death" (1965) and "Death Chants, Breakdowns and Military Waltzes" (1967) attest to Fahey's rapier wit, and his ability to weave upwards of half a dozen styles of music into one song with ease has yet to be matched by anyone.
Before the term "world music" was part of the lexicon, Fahey was using the blues as a means to pull classical and indigenous