Coldplay, “Mylo Xyloto” (Capitol) Rather than reach for the epically elegiacits default mode — Coldplay pares down its big rock roar a bit to take on the role of tiny dancers. The clip-clop of hip-hop, the whoosh of watery synth and the jarring jive of electro-soul all live on the group’s fifth full-length CD.
This album’s good points go far beyond the ambient rattle-and-hum created by Coldplay and coproducer/cocomposer Brian Eno. There’s play and sensuality, all too often lacking in the group’s frequently cold catalog.
The surface mope on several tunes is rescued and jacked by the sonic play beneath. “Every Teardrop Is a Waterfall” could have been a lonely groaner — but no tune that samples Peter Allen’s “I Go to Rio” can be too mournful. Rihanna (who duets with Martin on “Princess of China”) couldn’t even show up at a funeral without bringing the heat. And can a song named after a Peanuts character (the jittery “Charlie Brown”) ever be too sad? A.D. Amorosi, The Philadelphia Inquirer
Tom Waits, “Bad as Me” (Anti) You probably know how you feel about Tom Waits. Those who struggle with his carnival-barker vocals and trash-can percussion won’t necessarily be won over by “Bad as Me” — which is a shame, because it showcases everything Waits does best.
He serves up earthy, bluesy dance tunes (“Get Lost”), vitriolic, clangorous field hollers (the antiwar character study “Hell Broke Luce”), and plenty of witty, surprising turns of phrase. Best of all, “Bad as Me” features a bunch of sentimental, heartfelt ballads, including “The Last Leaf,” with Keith Richards on guitar and backing vocals.
As usual, Waits has assembled great players, among them guitarists David Hidalgo and Marc Ribot, bassists Flea and Les Claypool, and keyboardist Augie Meyers. Steve Klinge, The Philadelphia Inquirer
I-Wayne, “Life Teachings” (VP Records) This is the long overdue third album from reggae star I-Wayne, he’s back with a display of real roots, continuing to mix the political with the romantic.
Mostly produced by Patrick Z. Henry, the album takes you on a journey of love and righteousness and is filled with rhythms and bass lines that blend with I-Wayne’s voice.
The powerful title track touches on common roots matters such as taking down Babylon, and “Herb Fi Legalize” does the same praising marijuana. In comparison, tracks such as “Life Joy,” a collaboration with Etana, give the record an element of R&B.
The album wouldn’t be complete without an infusion of dancehall, and that comes courtesy of “The Fire Song,” featuring special guest Assassin. Comparisons to reggae greats are certain, but not premature.
Bianca Roach, The Associated Press
Chris Isaak, “Beyond the Sun” (Vanguard, 3 stars) Chris Isaak at Sun Studio: It’s a natural, really, when you consider how much Isaak has always drawn from early rock ‘n’ roll, and how as a balladeer he sounds so much like Elvis and Roy Orbison.
For “Beyond the Sun,” Isaak and his band, Silvertone, cut songs by a host of Sun artists, although in the case of Elvis and Johnny Cash, some of the selections are from their post-Sun careers.
Isaak doesn’t stray far from the original versions. What stands out, though, is the way he masters the various styles. A driving take on Jerry Lee Lewis’ “Great Balls of Fire” segues into Isaak in full crooner mode on the Elvis ballad “Can’t Help Falling in Love,” which is followed by Carl Perkins’ “Dixie Fried.” Elvis’ operatic “It’s Now or Never” is followed by Jimmy Wages “Miss Pearl,” which finds Isaak more unhinged than you’ve ever heard him. Nick Cristiano, The Philadelphia Inquirer
