CDs of the week

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Ian Brown

Newton Faulkner

Alice in Chains

Empirical

Titi Robin

POP
Ian Brown
My Way (Polydor)
***
Looking back on the Second Summer of Love, Ian Brown delivered himself of this priceless observation: “It's not where you're from, it's where you're at.” At the time, the distinction was clear — Brown was from Warrington and where he was at was the centre of the Madchester scene, courtesy of his position as singer of the Stone Roses. Now, that role is in the past, and where he's at is less clear.

According to the singer, his sixth solo album has been inspired by Michael Jackson's Thriller, news that will probably have die-hard devotees gnashing their mittens. They shouldn't worry over much, because My Way is recognisably Brown, in all his lugubrious, man-of-the-people glory. Songs like Stellify, For the Glory and Just Like You are simple, mid-paced rockers, lightly embellished with the odd studio effect, but built around reliable verses and choruses. It is heartening to note Brown's northern vowels are still unapologetically intact.

More interesting, if puzzling, is his decision to cover Zager & Evans's hoary epic of dystopia In The Year 2525, complete with apocalyptic trumpets and a glum message of technological doom. Crowning of the Poor captures a similar mood with a smidgeon more optimism and vibrant sheen of brass. So High is what might be termed Brown's big organ ballad, the melody giving off a distinct whiff of Oasis, perhaps in acknowledgement of the debt they have always claimed to owe him.

A decent record from a decent bloke, but I'm still not sure where he's at. All things considered, no need for the long face.
Pete Clark

Newton Faulkner
Rebuilt By Humans
(Ugly Truth/RCA)
**
In 2007 Newton Faulkner, a dreadlocked surf dude who doesn't surf, emerged from landlocked Surrey to pick up Jack Johnson's audience and run with it, making a double-platinum success of his number-one debut album. This follow-up is missing the spontaneous, good-time feel of its predecessor, overproduced in places and aiming for gravitas with the dominance of strings and ballads.Tracks such as First Time and I'm Not Giving Up Yet are simply dreary. The livelier Let's Get Together and Lipstick Jungle maintain the beach party feel of old, but overall this is the depressing sound of someone who belatedly wants to be taken seriously.
David Smyth

Paloma Faith
Do You Want the Truth or Something Beautiful?
***
Anglo-Spanish singer Paloma Faith shares a voice with Amy Winehouse and a wardrobe with Lady Gaga. She has also shared a screen with Colin Firth, whom she appeared alongside in St Trinian's, during her former career as an actress. As a musician, the 24-year-old is aiming for the overcrowded retro-soul arena, occupied by those such as Duffy and Estelle. When Faith warbles on her debut's haunting title track like a modern-day Shirley Bassey, she sounds like she might make room for herself yet. However, when Romance Is Dead is rendered irritating by cutesy vocals, and the overwrought Stargazer ends up in musical theatre territory, the result is an album as frustrating as it is thrilling.
Rick Pearson

Alice In Chains
Black Gives Way To Blue
(Parlophone)
***
Alice In Chains singer Layne Staley's love affair with heroin ended in a filthy Seattle apartment when police discovered his decomposing body in April 2002. Now comes the inevitable re-formation of grunge's most stylish practitioners. Their fifth album, 14 years after the fourth, features new vocalist William DuVall and, of all people, Elton John playing piano on the title track. Wisely, they don't deviate too far from their winning template: dark (but not as dark as Staley's) lyrics; spellbinding guitars and multi-layered vocal melodies. At its best — Check My Brain, Your Decision — it's as if nobody ever tired of grunge. Dignified.
John Aizlewood

JAZZ
EMPIRICAL
Out 'n' In
(Naim Jazz)
****
Some thought Empirical would fold after the abrupt departure of its pianist and trumpeter, but absolutely not. The award-winning British band continues to rise, phoenix-like, in a new entity with young vibist Lewis Wright providing the chordwork and altoist Nathaniel Facey blowing with more conviction than ever. Heavily into Ornette Coleman in his early days, he is now immersed in the Eric Dolphy legacy, an ambience underscored by Julian Siegel's guest bass-clarinet. Two themes, Gazzelloni and Hat & Beard, are Dolphy's but the other nine are tuneful originals in similar style. It's intelligent, spacey music with absorbing solos by the fast-maturing Facey.
Jack Massarik

WORLD
Titi Robin
Gitans
(Naive)
****
Titi Robin is a French guitarist and oud player who has virtually become an honorary Gypsy thanks to inspired collaborations with Indian, East European and flamenco musicians over the years. This album, released in the UK for the first time, is what started it all off in 1993. It features the wonderful Rajasthani singer and dancer Gulabi Sapera — her voice full of raw emotion. But it is also a superb showcase for Robin's instrumental skills with Bernard Subert and François Castiello on clarinet and accordion. These days the profile of Gypsy music has risen hugely but this was a groundbreaking disc and earns its place as a classic. Titi Robin plays the Cadogan Hall on Tuesday.
Simon Broughton

 

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