Today's guest reviewer is Jen Grover, author of Second Choices and The Rooks Parliament, and editor of the former Tone and Groove magazine.

Jon Anderson

Open

Open Music, 2011

"Open" begins and ends with a delicate chime, like a formal meditation. What falls between those small tones is exuberant, joyful, and wide. This 20+ minute "single" was released on October 25, 2011, Jon's 67^th birthday, as a download only, currently available on both iTunes and Amazon.com.

Though structurally and lyrically it resembles long-form, 1970s Yes songs, it's not a rock song, nor would I call it New Age. It's a fully orchestrated sweeping epic, composed on Jon's 19^th century guitar with orchestration added by Stefan Podell. The introduction functions as an overture, stating the variety of musical themes that will follow. Dawn-like at the outset, it grows from quiet to bright and sprightly, dominated by horns, until electric guitar and piano come in. Then it falls into quiet melancholy just before the vocals begin, reminiscent of the soundtrack to a grand Hollywood film (think Ben Hur) married with a bit of Ralph Vaughan Williams, accompanied by strummed acoustic guitar.

The lyrics and music suit each other artfully, building, quieting, full and grand in parts, sparser in others, always reflecting the emotions of seeking and encountering the divine and learning to express that in one's life. The themes are typical Jon Anderson: musical segments flow one into another, despite their diversity and dynamic changes. Panentheistic lyrics center on the sun as a symbol and manifestation of God, with messages of affirmation, hope, peace, love, care of the earth, and music as a reflection and celebration of life and wisdom received. A primal, danceable rhythm recurs. I defy you to not sway to it.

Jon is a gentle, persuasive preacher, as webmistress Andrea and I witnessed recently at the Jon Anderson/Rick Wakeman performance in Philadelphia. He is able to make us feel good about who we are, while admonishing us to grow and improve the lives of others as well as our own, through love, peace, respect, recognizing the same light that shines in all of us. As this song states, "Open doors will open hearts/Open hearts will always open doors." In these trying times, a song like this is an oasis of hope and joy, and a motivator for the listener to do his or her part to make things better.

Play it loud. Immerse yourself in it. Recommended listening outdoors on a sunny day. Back-to-backs rather well with Keith Emerson's "Piano Concerto No. 1".

[http://jonanderson.com/]

Jen Grover [http://www.lulu.com/spotlight/brushpanther]

Kathryn Calder

Bright and Vivid

File Under: Music

Sometimes dark and/or sad lyrics can be the best lyrics of all, if sung this sweetly, soothingly, and with a steely resolve, determination, and calmness. These types of lyrics can also be a source of comfort. Life will go on, it has to go on, and that whatever pain or loss you are feeling now, will bring you understanding and relief down the line, even if the loss or pain never truly goes away.

Bright and Vivid was recorded after Calder’s mom had passed away from ALS (Lou Gehrig’s disease). The lyrics deal with her learning to cope with the loss. And most of these lyrics aren’t downers. “New Frame of Mind” the album’s best track, points to a better future, even as the line, “how many throats will I cut til I see, what is beyond the breech,” means she is going to have that release and happiness any way she can get it.

The rough folk rock of Calder’s debut Are You My Mother soared in a way very few albums did in 2010, as for example Vampire Weekend’s Contra, and the New Pornographers Together, of which Calder is a member. Bright and Vivid couldn’t be more different musically than her debut, with its very lovely melodic synth and guitar-based rock. And it soars just as high. There are very few albums that come up to its level this year, like St. Vincent’s Strange Mersey and Tune Yard’s Whokill. There are also many wonderful found sounds on it, like water being poured from a pitcher into a glass in ”Five More Years.” In the end, one of the best albums of the year. [http://www.facebook.com/kathryncalder?ref=ts]

Andrea Weiss

Joker

The Vision

4 AD Records

Joker’s roots are in the Bass and Dubstep techno genres, but The Vision is more than beholden to either scene. It includes old-fashioned pop and beats, both good and strong melodies and rhythms, singing that is soulful, lyrics, and raps that are left wing political. “Back in the Days” is a boastful rap. The Vision is a much an album for deep listening on headphones as it is for dancing. All of which make it a wonderful and fun album, and a big reason to cheer on an album so multi dimensional.

[http://4ad.com/artists/joker]

Andrea Weiss

Strange Boys

Live Music

Rough Trade

The title implies a live recording, but it actually is a studio project. And what an excellent, fun record this is. Imagine if the Velvet Underground, at the time they made Loaded, were a blues band. And what if Pavement had played the blues on Crooked Rain, Crooked Rain? And were more mellow than either of those bands. That’s the Strange Boys musically.

As for lyrics, they are wry humored along the lines of “ah yes, that’s life.” This is good-time music for a small gathering of friends, as it’s a little too laid back to be played at a big party. The Strange Boys put a smile on my face with their easy going, rolling blues, and gentle lyrics. I hope they do the same for you. [http://strange-boys.com/

Andrea Weiss

St Vincent

Strange Mercy

4 AD Records

This is an excellent follow-up to Actor, and as good as Actor was, and Annie Clark’s debut Marry Me was, Strange Mercy tops both of them. Clark has found her voice as never before. These strong, confident, songs are a wonder to hear, and delight in.

Her lyrics, while having echoes of Sam Phillip’s The Indescribable Wow, and Hounds of Love-era Kate Bush, are in the end all Clark. While those two albums dealt with having pain, Strange Mercy is about relief from pain. Not that these songs are pain free. They are pretty dark, but the straightforward release she gets from that relief, also make this album her most buoyant. There are also snatches of political commentary here, like on “Cheerleader” which may be about realizing that America is not all it’s cracked up to be, or the line, “America, can I owe you one?” on “Year of the Tiger.” The commentary works because she realizes that there are other things to write about than relationships. It’s very smart.

This is Clark’s most guitar oriented album. She had wanted to be able to play all the songs on guitar, and the guitar playing here attests to that success. She is a fantastic guitarist, and as there still aren’t many woman lead guitarists, it is always wonderful when a woman steps to the front and slams down a bracing solo or riff. Taken together, this is a complete package, and a great one at that. [www.ilovestvincent.com/]

Andrea Weiss

Caveman

CoCo Beware

Magic Man! Records/ORG Music

This NYC band’s wonderful debut sounds like a little like a faster paced, louder Winterpills. Since Winterpills is a fine band in its own right, that Caveman should come up to their level, and in some cases top them with songs that aren’t as dark lyrically, means that Caveman is a band to watch, and who deserves every bit of their buzz.

They also sound a bit like the Dodos’ No Color album, but Stefan Marolachakis’ drums roll smoothly, not clatter around. Matthew Iwanusa’s lead vocals sound natural, and not oh-so-clever. His guitar and Jimmy “Cobra” Carbonetti’s blend together nicely, and the whole band’s harmonies are thrilling to hear. In the end, a joy, and one of the best debuts of the year. [www.facebook.com/CavemanBand?sk=wall]

Andrea Weiss

Stephen Malkmus and The Jicks

Mirror Traffic

Matador Records

He’s never sounded so mellow, gentle, and wiser, with the wisdom of age in his singing and lyrics. He still thinks everything is an ironic joke, but the irony has receded a bit, replaced by warmth, and even comfort. And fondness for bygone good times, like when he and little Micky smoked some pot in his van.

Now that he’s gotten his jam band impulses out with Real Emotional Trash, he prunes his guitar playing back somewhat, and what emerges is a cross between Pavement, Jorma Kaukonen and 90s Liz Phair. He is still a tremendous guitar player, one of the best of the last 30 years, and now that he’s older, he allows his playing to have sincere emotion. He cares, and it’s reflected in his playing.

Mirror traffic is his best solo album yet, but could it have been made if Pavement had continued its reunion? Did Pavement have to die for good so that he could make this great album? Perhaps answers the first question; a sad yes to the second. His new one ranks with Pavement’s best work, and with Pavement toast, this album is what replaces that band wonderfully. [http://stephenmalkmus.com]

Andrea Weiss

The Horrors

Skying

XL Recordings

The Horrors combine the pretty, somewhat gloomy atmosphere of 80s era Church with the drive, and the drolly romantic languor of early Psychedelic Furs. It's a wonderful updating of both bands, and a worthy follow-up to their 2009 Mercury Prize nominated Primary Colours. [www.thehorrors.co.uk]

Andrea Weiss