Music: Listening to Bitch Magnet, Amy Winehouse, Paul Oakenfold, Jònsi

Bitch Magnet

Bitch Magnet

Temporary Residence

 

It's amazing what you can find in the cassette shelves of 1989. There's Lou Reed's sketches of city life called “New York.” Bonnie Raitt's “Nick of Time” in any Manila record bar, proof that she's finally mainstream. How can you miss much with “Janet Jackson Rhythm Nation 1814?” And of course Madonna gets to express herself as a serious but fun artist with “Like a Prayer.”

 

But there's no Bitch Magnet.

 

Fortunately, it's 2012 and you buy loads of stuff over the Internet, including this eponymously named compilation of the seminal group's two albums and EP released from 1988-1990. The old songs have been remastered plus a fistful of previously unreleased material was added as sweetener.

 

This is a high velocity, post-hardcore history lesson for the alterna-indie nation. "Sea of Pearls" is one of the rare tracks that make a pop compromise in its approachability even given the knee-watering guitar thrash. "Joyless Street" starts off with a catchy bass thump that's begging you to floor the car accelerator. Singer/bassist Sooyoung Park's voice remains buried under the mix in "Crescent." However, it's still a hauntingly lovely song.

 

Bitch Magnet is not Dinosaur Jr., Sonic Youth or Husker Du. But if you've been listening to those records, why not this?   

 

Lioness: Hidden Treasures

Amy Winehouse

Universal Republic

 

Amy Winehouse's cover of "Girl From Ipanema" is absolutely heinous! The stutter step rhythm is supposed to rehabilitate this elevator refugee. But the material just doesn't suit Winehouse's vocal quality. She does not sway cool nor does she sway so gently. This song is a thoroughbred race horse hitched to a broken down farm cart.

 

Fortunately, that's the worst that can be said. “Lioness” is made up of Winehouse's outtakes and unreleased material. The semi-good news is that the cover material, aside from "Ipanema," is mostly made up of classic hits that are fail-proof. The Skatalites-flavored horns opening "Our Day Will Come" is the master key that activates the head-bob response. It's just oh so right when the Shangri-Las get channeled through in "Will You Still Love Me Tomorrow." Tony Bennett duets with Amy in "Body and Soul" thus proving that the former still lives up to the "Tony Bennett is alternative!" stickers that used to be on his CDs.

 

But Amy Winehouse is the force that governs the interactions of the matter. Her talent is in full voice in "Between the Cheats." The sixties soul vibe purrs and growls; this cut shares heritage with the previously released "Back to Black." "Best Friends, Right?" and "Halftime" are both penned by Winehouse herself. Production here shifts to a smoother, slick sound that's more lite jazz rather than sixties soul.

 

“Lioness” is a set of throwaways. They’re very entertaining but one can't help but hanker for a proper, thought out album. However, all that's left is a bunch of old records that get played again and again.

 

Nevermind the Bollocks Here's Paul Oakenfold

Paul Oakenfold

Perfecto Records

 

The Chief Justice is being impeached. Senators angrily raise their voices. Lawyers have contentious arguments. Pirated DVDs are bought and sold. It's the end of the world.

 

Thank God, someone still wants to dance.

 

Specifically, Paul Oakenfold and his new trance compilation dares everyone to jump up and down for 2 CDs word of thump. On his website Oakenfold characterizes “Nevermind the Bollocks Here's Paul Oakenfold” as commercially uncompromising. And that is true as the uninitiated will find this a pummeling experience.  

 

The Oakie himself has authored four tracks in the album: "Tokyo," "Full Moon Party," "Groove Machine" and "I'm Alive." Aside from the remixes of past anthems, the most interesting materials are the contributions by young DJs like Korean Justin Oh and Hungarian Mike Danis. The former's "Wait For You" downshifts from the album’s continuous mechanical beat to a groovier dance form. Danis' "For You" swoops in and out from quiet to crescendos that ask for the lights to be turned on so you can see who you're dancing with.

 

And that's what “Nevermind the Bollocks Here's Paul Oakenfold” is all about—party-time, dancing. Listening to this for its own sake on Sunday afternoon is bone-jarring and not won't leave you feeling fine.

 

We Bought a Zoo (Original Soundtrack)

Jònsi

Sony Music

 

Sometimes you can have a soundtrack that stands alone as a pretty good record independent of the movie it's derived from. The “Singles” soundtrack, also a Cameron Crowe movie, was a good snapshot of that time and place before the music scene was machine-gunned by the word "grunge." 

 

“We Bought a Zoo” can be perplexing rather than catchy. There are minor tracks like the opener "Why Not?," the twittering "Snærisendar" and forest-noised "Brambles." These come across as incidental noises that are meaningless unless as mnemonic devices for the movie or as pieces of avant-garde thoughts.

 

However, "Ævin ender" has Icelander Jònsi singing pensively and leaves one with a curiosity as to what his musings are all about. "Boy Lilikoi" is nursery fun and whimsical, with drums rolling along, a friendly freight train to a pink and baby blue haven. A stately chant to a forest of brass and string, "Hoppipolla" also features Jònsi's experimental rock band compadres Sigur Ròs.

 

As it is, “We Bought a Zoo” takes some effort for a listener to come to grips with. But it may be worth a listen if just for the change of scenery. –KG, GMA News