Aimeen Mann Uncorks an Unqualified Charmer

Those of us '80s teens will likely always remember Aimee Mann as the voice behind 'til tuesday and its nugget from the decade, "Voices Carry". Well she's long since gone on to be a critic's darling sticking such feathers in her cap as 1993's "Whatever" and numerous tracks contributed to the art house film "Magnolia". The title track from the brand new "Charmer" is exactly what the title suggest it could grow up to be. Aimee manages to pull off some meaty guitar playing which makes a nice counterpoint to the 80s friendly keyboards sprinkled throughout. Aimee throws a hot spotlight on people who come off as charming but are secretly uncomfortable with the attention they get because a hidden agenda won it for them. Aimee's pipes are firm yet never flirt with an octave range that would shatter glass. That's a wonderful artistic persona to project. She gives off confidence that her voice can be powerful in message and chord shift without having to beat people around with it to make them get the point. "Stalwart" comes to mind when one thinks of her place on the contemporary music scene. She never really has gone away since 1985. All she's managed to do is piece together an uncompromising catalog that allows her instruments both electric and all-natural to command each drop of the well-earned attention. "Charmer" the song is a crisp, crowd-pleasing tap into what I'm confident will prove to be a lucrative album. The loyal masses are going to go wild. Newbies will have plenty to cheer about, too.

Dave Matthews Band Returns To a World of Its Own

You really want to give Dave Matthews a big hug and tell him the weighty burdens of the world he knows will, in fact, work themselves out in the end. Until someone gives him a strong enough hint we can all lick our chops at the latest tantalizing collection from The Dave Matthews Band. "Away From The World" finds the boys just as jam groove oriented as they ever were, showing off how they are one of the few outfits that has demonstrated legitimacy as an honest to goodness "jam band", the kind where the musicians toss in their own ingredients to make a toothsome stew. "Mercy" is a showcase for the quadrant of Dave's psyche that hopes the man made damage of the planet we are supposed to be stewards can be reversed before it's too late. "Broken Things" reaches for Dave's vulnerable epicenter, the one I suggest is in biggest need of a hug. "Drunken Soldier" is militant, undeterred by the obstacles felling lesser men. The theme, just be yourself, isn't new, but the authoritative percussive imprint the band leaves on it succeeds in reinforcing the importance of not letting anyone, friend or foe, tell you what the best way to live your life is. Boyd Tinsley, as usual, works his violin with gustatory seasoning. Carter Beauford's drumming still guides Dave's at times melancholy verses with the reassurance a captain is given by the first mate on a ship where one wrong turn spells disaster for all involved. "Away From The World" takes its place as excellent addition to the music world not to mention a noteworthy link in the chain which comprises the Virginia rock mainstay's body of work.

"North" Finds Matchbox Twenty Moving In The Right Direction

Some time apart helps friends appreciate each other. "North" is a diverse collection provided us by a foursome of artists dedicated to their passion, and willing to put it on full display. Not bad at all for a supposed comeback album. The leadoff single "She's So Mean" straddles the line separating playful and naughty. "Parade" flat out floors it. The chemistry within the band couldn't be more evident. It's the best rocker of the lot. The same set is responsible for "Overjoyed", which buoys listeners with its unavoidable undeniable warmth. The song is proof that Matchbox Twenty is never far away from expanding on its sensitive side. "Radio" emits the modern day big city chaos only Rob Thomas could make digestible on first listen. The hullabaloo essentially leaps out in its attempt to shake you awake. Not that the boys have completely sliced their efforts into the two camps of acoustic heartstrings and bracing pop/rock slabs. "English Town" struck these ears as being an eye-popping curiosity. For added effect there are symphonic strains that serve to heighten the mood's overall darkness. Matchbox 20 deserves props for flexing all of its musical muscle instead of using "we're making a comeback record" as an excuse to play it safe. "North" appears primed to strike chart gold regardless of what region of the country record buyers come from.

Alicia Keys Smolders With Intensity

Alicia Keys' soulfulness originates from a pure place. The backdrop sounds are mere window dressing for what she brings to the table. Her latest "dish" is "Girl on Fire" from her CD of the same name. No one's going to confuse it with say "No One" or "Fallin'" but then again who's going to point fingers at her when she finds yet another way to market her from the heart vocal abilities. To guide her through this tribute to a woman armed and ready to take on the world is a quietly warm rush of drumbeats and keyboard. Alicia needs only scramble back to her enviable power source to create the portrait of the titular girl. She's got her feet firmly on the ground while entertaining dreams headed to the stars and beyond. Alicia's got the horse sense to align herself with musicians who allow the dramas she sells to bounce of the listener as being even more urgent than they are to begin with. The waves surge forth from the beach yet don't overwhelm the shore. Just enough of  a restraint to the plinking and bashing to make Alicia's delivery not come off as anything other than honest. Her artistic development hasn't once included ditching the aura of cool that made her a superstar. If more understated harmonizing's on the menu, music lovers are in for a hearty meal indeed.

Time Once Again To Fall Into Melissa's Arms

Melissa Etheridge's first track off of "4th Street Feeling", upon first listen, fashions the resilient pop/rock songstress as a gentle spirit taking time out to "raise a cup" to herself and the life she's negotiating. She remains vibrant with her guitar picking. In fact, compared to tell-all belters like "Come To My Window" and "The Only One", she's grown comfy enough in her own skin to sign off on a breezy strand on the pearl like this. I'm on a front porch in the Deep South sipping iced tea. With her guitar Melissa keeps the mood loose and bounding with optimism. Her introspective bent is unflagging much to what I'm guessing will be the reassurance of long-time fans. Like the tea I allude to, the rich taste of "Falling Down" leaves a crystal clear aftertaste in its wake. Even though this song is more A/C radio friendly than recent work Melissa still knows how to dig deep for a captivating slice of a day in her life.

This Dinosaur Leaves a Monstrous Footprint

For any of you music aficionados out there who miss that swath of '90s era music makers who dedicated themselves to furthering the craft of producing sounds wrapped around beefy drum passages, snarling guitars, and stories of disenfranchised alienation consider yourselves freshly smooched by Lady Luck. Dinosaur Jr. is returning with a new album September 18th entitled "I Bet on Sky". It's their first effort since 2009's "Farm". When J Mascis and friends closed up shop in 1997 their absence left a distinct void in the alt-rock universe. Their music pulsated with the sort of uncompromising rock college radio at its finest could claim to present to the rest of the world at large. First up from "Sky" is "Watch the Corners" which proves how harshly melodious the Dino sound is when all three members (bassist Lou Barlow and drummer Murph being the hefty supporting players to J Mascis's drone vocals) have rediscovered how to get on the same page. J doesn't just work over his fretboard. He fills it with a sawed off snarl that communicates his emotional detachment. Murph barrels ahead through the sonic attack with beats that never let you forget you're staring squarely into the eye of an emotional hurricane that, like the more costly natural disasters of note, takes its own sweet time burrowing into your spine. Lou Barlow's bass playing ensures the song operates from an intense power bass. If anyone out there feels thwarted by a universal plan that was set in motion long before you were even a gleam in your buxom mother's eyes take heart because J feels your pain. Again Dinosaur Jr brings the heat with a jam that will have college and rock radio taste makers declaring themselves on notice that one of the 1990s indelible musical trios is shaking up complacency again.