Jack Johnson, “To the Sea” (Brushfire)
has quietly become one of the biggest pop stars in America. And when we say quietly, we mean it. The Oahu-reared surfer-turned-singer has never relied on bombastic pop production or controversial off-stage antics for his stardom. The secret to his success: Low-key, inoffensive, acoustic songs about life, love and his unique relationship with the water.
They’re all here on his fifth full-length, “To the Sea,” dedicated to the memory of his father, Jeff. The CD’s first single, “You and Your Heart,” is a jangly, likable track that plays with harmonies and that trademark Johnson sentiment that is so popular with the kids. “You and your heart shouldn’t feel so far apart,” he sings casually.
And Johnson is nothing if not casual. Like his other records, this effort sounds like a shoes-optional outing best enjoyed in a hammock or on a beach.
It’s no cliché: Johnson and his intimate connection to the water is a very real relationship. His love of stilted rhythms and pointed pauses mirrors the tide’s in-and-out flow. That said, this record won’t likely turn Johnson’s critics around, as it’s alarmingly similar to his previous releases.
Jack Johnson is one of the headliners at this summer’s Mile High Music Festival on Aug. 14-15. More: . — Ricardo Baca
The Black Keys, “Brothers” (Nonesuch Records)
sixth album, “Brothers,” is proof positive that sometimes less is more. This album finds Patrick Carney and Dan Auerback returning to a less cluttered sound that was a staple of their past work with the exception of their previous record “Attack and Release,” produced by Danger Mouse. The boys produced “Brothers” themselves in the legendary Muscle Shoals Sound Studio in the Alabama town which shares the same name.
With “Brothers,” Carney and Auerback have captured the essence of Southern blues-rock. Their vintage sound is genuine and it comes across so smoothly that the band makes it sound all-too easy. In the current musical climate, with Auto-Tune, expansive audio layering and a number of other production gimmicks, listening to an album that is very much under produced by today’s standards but far superior, is much appreciated.
“Brothers” does not need a wall of sound to sell the listener on the Black Keys’ legitimacy; Carney and Auerback do that with solid instrument work, relevant lyrics and little bit of Southern swagger.
Words of warning, the album can take a couple of listens to truly appreciate. The tone of this review changed dramatically from the first to the fourth or fifth listen. All the tracks are uniquely interesting but “Brothers” lacks sure fire hits. After listening to the album a number of times, it was difficult to remember particular songs, lyrics or guitar rifts — which are the elements that have this very good album fall short of greatness. The Black Keys play the on Thursday, May 3. — Greg Stieber
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Ricardo Baca is the founder and co-editor of and an award-winning critic and journalist at The Denver Post. He is also the executive director of the , Colorado’s premier indie music festival. Follow his whimsies at , his live music habit at and his iTunes addictions at .
Greg Stieber is a Denver freelance writer and regular contributor to Reverb.
