By Cait Brennan, Feb. 12, 2015.
Atlantic Records | 4 Stars
The pressures of fame can crush the most hardy of hearts, and for London songstress Rumer, a platinum-selling debut album (2010’s Seasons Of My Soul) came with a lot more stress than she bargained for. From there, she released a fantastic covers album, Boys Don’t Cry, in 2012, but her struggles with depression and bipolar disorder caused her to step away from the spotlight and retreated to California’s Laurel Canyon, where so many of her artistic influences have roots. The break did her good, because she’s back with a strong set of originals that capture the vibe of classic Southern California soft rock with a very up-to-date groove.
The album starts with a syncopated hit worthy of the Love Unlimited Orchestra, the classic disco-infused “Dangerous.” It’s the catchiest, danciest tune about depression you’ll hear this year, and it’s the lone nod to rhythm in a set of lush, intimate ballads.
Rumer’s voice recalls Karen Carpenter with a hint of Dusty Springfield’s “Northern Soul,” and the songs here frame her talents perfectly. Her voice inspired legendary songwriter Burt Bacharach to write songs specifically for her, and his sophisticated melancholy is alive and well here. This album was produced by Bacharach’s musical director, Rob Shirakbari, and Stephen Bishop, whose 1977 hit “On And On” is still an FM staple, co-wrote three songs including the lovely “Sam.”
It’s bittersweet music, full of longing and late-night wistfulness. Rumer plays it safe a little too often, but her voice is hypnotic and pure, and if you love the Laurel Canyon sound, Into Colour is likely to end up on your favorites list.
DMG | 3.5 Stars
Out singer-songwriter Matt Zarley has been making waves since 2002, when his first album, Debut, made Billboard’s Critics’ Top 10 list. In 2012, Change Begins With Me continued the trend, winning OutMusic’s album and single of the year, and now the Broadway veteran is back with an ambitious new project, an album and short film showcasing his musical and acting talents alongside co-stars George Takei, Chuck Saculla and Jolie Jenkins.
Zarley’s voice shares the same shimmering tenor quality as Erasure’s Andy Bell and this narrative is an emotional relationship journey – from the excitement of a first meeting to falling in love, breaking up and coming through it with hope for the future. “I Just Knew” captures that initial rush and anticipation and boasts a Broadway-worthy chorus. “Shiny New Toy” has a rock edge with chunky guitars and a punchy beat.
While the lyrics range from petulant to hilarious, the passion Zarley puts into the project is palpable. His heartfelt vocals shine in such ballads as “Let Me Let Go” and the extraordinary “Somebody 4 Everybody,” a message of hope and positivity, and a swirling, joyous dance romp that features vocals from Shoshana Bean, who succeeded Idina Menzel as Elphaba in Broadway’s Wicked. Bean is featured on several tracks here, and the interplay between their voices is a special treat. hopefulROMANTIC is a tour de force for Zarley, and it’s his finest work to date.
Verve | 3.5 Stars
Five-time Grammy winner Diana Krall began as merely a magnificent jazz pianist and vocalist. She’s since blossomed into a fine songwriter and highly sought-after producer as well, but on her new album Wallflower, she handed the production reins over to the legendary David Foster (Michael Bublé, Chicago, Mary J. Blige) for a collection of Krall’s favorite cover songs from the ‘60s, ‘70s and ‘80s.
“California Dreamin’” starts the set, and in Krall’s hands, the original’s sunny ‘60s pop is stripped away, revealing the melancholy that lies beneath. Likewise, Krall pares down the Beatles’ “In My Life,” revealing John Lennon’s elegiac lyrics in a new light. 10cc’s “I’m Not In Love” retains its wry charm, with Krall’s vocal teasing out every shade of the rueful, circumspect storyline. And a recent, previously unrecorded Paul McCartney tune, “If I Take You Home Tonight,” showcases the soulful side of both Krall and Macca.
Sometimes the arrangements get a bit ponderous, as on the Carpenters’ “Superstar,” which drags out every word and note to its maximum possible length. It’s also highly unlikely that the world needed another cover of the Eagles’ “Desperado.” But the delights here are many: Krall turns Gilbert O’Sullivan’s heartbreaking “Alone Again (Naturally)” into a warm duet with Michael Bublé. Having two people sing a song about being totally alone triggers an instinctive cognitive disconnect, sure, but just relax and enjoy the mellow gold. Crowded House’s “Don’t Dream It’s Over” gets tender orchestration and an insistent beat that both suits her style and reinforces the original’s staggering greatness. Elton John’s “Sorry Seems To Be The Hardest Word” seals the deal, serving as Krall’s tribute to her biggest pop influence.
