Album reviews
Eric Clapton
`Clapton’
(Warner Music Korea)
Eric Clapton’s first released work in five years is a not an attempt to pull left-field strings, but pay his respects to his blues roots with a pleasantly meandering 14-track album that explores the landscapes of pure music with the accompaniment of smooth virtuosos from Wynton Marsalis to Sheryl Crowe.
Comprised of classic covers and mixed new material, Clapton pulls together an accomplished hodgepodge crew to recreate an era of tapping tambourines, twanging guitar riffs and deep country blues, away from boasting rock glamour in this direct, uncomplicated (except in arrangements) excursion. Opening with Texas legend Melvin Jackson’s ``Travelin’ Alone,’’ the release digs its right heel into the hard-packed dirt of contemporary music to take its stance as a return to times past with a determined drum.
Collaborator and co-producer Doyle Bramhall II makes his presence fully known with clean and simple vocals in Snooky Pryor’s ``Judgment Day,’’ dotted with the telltale harmonica style made famous by the late artist, while ``My Very Good Friend the Milkman’’ is a quirky, pop blues number a la Fats Waller accentuated with a doo-wop beat. Hoagy Carmichael donates ``Rocky Chair’’ while J.J. Cale’s solo on ``Everything Will Be Alright’’ is a soothing call to the ears, dramatized with a flitting piano and deep percussion.
Though by the time Clapton’s own original pieces with Bramhall (track 13’s ``Run Back to Your Side’’) makes an appearance, the journey has been long, if productive in nostalgic reminiscences. Overflowing with musical talent, every aspect of the album is clean-cut, well-made and tailored to the fit of the music-lover’s ear as if a bespoke suit. Other contributors include Allen Touissant’s piano, and the guitar of Derek Trucks (from The Allman Brothers Band and former touring member of Clapton’s own).
The album makes for easy listening, but it’s the enthusiast that will gain the most with a nod and knowing smile at the collaborations between the famous names, feeling at ease in Clapton’s own introspective relaxation into what he does best.
Three and a half stars out of four.
Why we recommend it: Eric Clapton has long been one of the world’s greatest guitar legends. His return to pure blues and jazz is not only epic, it’s beautiful.
Best tracks: ``Travelin’ Alone,’’ ``Everything Will Be Alright,’’ ``When Somebody Thinks You’re Wonderful’’
― Ines Min
Trey Songz
`Passion, Pain & Pleasure’
Trey Songz’s ever-growing presence in the world of young R&B/hip-hop artists has been making waves since his answer track to R. Kelly’s ``Trapped in the Closet.’’ Now the 25-year-old is making his own name in the field with his fourth studio album and ventures into his own musical style to distinguish himself from the homage-heavy ``Ready.’’
``Passion, Pain & Pleasure’’ swarms with Songz’s R&B sentiments ― at his best he manages to compose subtly pained tracks such as ``Can’t Be Friends,’’ but then falls flat with a barely emotional, manufactured ``Please Return My Call.’’
The highlight remains catchy club number and lead single ``Bottoms Up,’’ featuring the perfectly darting rap and cooing chorus of Nicki Minaj, while ``Massage’’ epitomizes the artist’s sleek sexual prowess. The remaining album boasts Songz’s versatility, from the electronic ``Red Lipstick’’ to ``Blind,’’ a grooving, bass-heavy call-out with pop sensibilities, and the final ``You Just Need Me,’’ supported by a light techno beat.
Three stars out of four.
Sara Bareilles
`Kaleidoscope Heart’
(Sony Music Korea)
Singer-songwriter Sara Bareilles knows how to write a hook and pull just the right chords. Likened to the ranks of influence such as Sarah McLachlan, the artist’s third album leaps from the start, with an introduction that sets the pace for the pop-filled, well-executed release.
``Uncharted’’ leads with a catchy chorus that swings with a quick, sliding piano crescendo before hitting a key change to the minor that tugs at those heartstrings already taken with Bareilles’ first hit (``Love Song’’). ``Gonna Get Over You’’ continues the pianist showcase with a pounding, scaling rhythm that contrasts pleasantly with light-hearted vocals that croon to the highest of her soprano.
But after lead single ``King of Anything,’’ the album quickly derails into a mass of monochromatic tracks lacking in the range of McLachlan, and the emotional conviction and storytelling of Fiona Apple, to which Bareilles recalls. Talented and passionate, this singer-songwriter is entertaining as they come ― but perhaps just for the moment.