Eminem, “Recovery”(Aftermath)
Detroit rapper Eminem has an obvious penchant for literal album titles, and his latest, “Recovery,” often sounds like an empowering self-help book written by Em himself. Sure, there’s still plenty of critical vitriol and outward hate spewing from the MC’s mouth, but this time it’s clear that he’s out for personal changea welcome switch- up, though it’ll be interesting to see how it affects the rapper’s thuggish, brutish image.
Aside from the mantra-like lyrics here — “I’m not afraid/to take a stand/everybody/come take my hand” from the lead single, “Not Afraid” — the rest of this comeback record is quintessential Eminem. The head- scratchingly clever rhymes (“lay ’em/say ’em/mayhem/damn”) and the melodic, sing-songy rap choruses that fans love are all over “Recovery,” and while “Not Afraid” is an obvious single — one that borrows from the Dirty South with its militaristic chorus and production — this album has more ready-for-radio bangers.
“Cold Wind Blows” is a natural hit with fierce attitude and pop culture references galore — Michael Vick and Elton John (again), included. “25 to Life” is a fine album track worth a careful listen. And “Won’t Back Down” is a rock-tinged blast of new life that features Pink and has Em sounding refreshed, rejuvenated and, dare we say, recovered? Ricardo Baca
The Indigo Girls, “Staring Down the Brilliant Dream”(Vanguard Recordings)
Live recordings are tricky, especially because many artists prefer to capture one special evening on tape — even if the entire night wasn’t all that special. The Indigo Girls are veterans at this whole game, and “Staring Down the Brilliant Dream” is their second two-disc live recording, following 1995’s “1,200 Curfews.” They smartly selected their favorite 31 recordings from 2006-2009 for the comp, and the result is a lovely collection of special moments.
The song-ending harmony that closes “Closer to Fine.” Amy Ray’s casual, F-bomb- dropping storytelling in “Shame on You.” The rarity “Wood Song” and its nuanced delivery by Emily Saliers. Ray’s slinky “Sugar Tongue,” which is much better than the original CD recording. And the girls wink when they kick it all off with “Heartache For Everyone,” a dub-influenced good-times jam that is proof that these ladies aren’t just relying on their decades-old work — they’re still writing great music. Ricardo Baca
Wolf Parade, “Expo 86” (Sub Pop)
It’s tough to imagine Montreal indie rockers Wolf Parade ever besting their 2004 debut, “Apologies to the Queen Mary.”
“Apologies” was a subtle masterwork of yelping, paranoid indie rock as shaped by producer Isaac Brock (leader of Modest Mouse — a band to whom Wolf Parade owes some sonic debt). Singers Spencer Krug and Dan Boeckner set an enduring template for vintage synth blasts, figure-eight instrumental clatter and smart, darkly funny lyrics.
But on “Expo 86,” the band’s third record for Sub Pop, Wolf Parade asserts that it doesn’t need to imitate past work. “Expo 86” is certainly a more assured, expansive record than sophomore full-length “At Mount Zoomer,” which fumbled with claustrophobic production and occasionally tepid songwriting.
And “Expo” is also more instantly accessible, focusing on a restless creativity that’s constantly at risk of being diluted or overshadowed (see the band’s numerous side projects).
It’s no “Apologies,” but with lines like “We built this city on cocaine and lasers,” and the ripping melodies and guitar lines of “Pobody’s Nerfect” and “Little Golden Age,” it doesn’t really need to be. John Wenzel
