Word: cd
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Dates: during 1990-1999
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...need to (a) shut off "Dawson's Creek," finish the latest Sweet Valley High novel and get into therapy, and (b) book it over to Davis Square for the Beatlemania tribute. Celebrate the Fab Four that paved the way for all your fave guy groups, and pick up a CD your roommates can tolerate on the way. 8 p.m., Somerville Theatre, 55 Davis Square...
...matter. Mitchell is in a good mood and in good voice, and she delivers a jazzy, ebullient set, floating through a few songs from her latest CD, Taming the Tiger. Then, alone with her guitar, she offers up a spare, resonant reading of her gently anthemic song Woodstock. "We are stardust...And we've got to get ourselves back to the garden..." she sings. The lyrics seem to belong to another age, an era of idealism and Abbie Hoffman and moon landings and electric Kool-Aid acid tests and B-52s bombing the Ho Chi Minh Trail. But even...
Taming the Tiger doesn't sound like anything else on the radio right now; that's both the CD's strength and its burden. Mitchell refuses to rest easily in the folk-pop genre she helped establish. Tiger is composed of crystalline tones: breezy guitars that ring like wind chimes; crisp, jazzy vocals. A few of the songs attack pop radio ("Boring!" she sings). On other numbers Mitchell gets more personal, recounting her mother's disapproval of a live-in boyfriend. Mitchell's reply: "For God's sake!/I'm middle-aged, Mama." And on the album's best song...
...time when acts like 'N Sync and Backstreet Boys cavort in the upper reaches of the charts like kids atop a treehouse, a CD such as Taming the Tiger, whose title song was inspired by 18th century poet William Blake, is a tough sell--unless you're selling it to fans of 18th century English poetry. But Joni will be Joni when the trends have trended out. To paraphrase Blake, she still burns bright...
This vocalist had the misfortune to come of age in the early '60s, just when male jazz singers were going out of style. Unrecorded for 22 years, Bey, now 58, issued a comeback CD, Ballads, Blues and Bey, in 1996. On this follow-up, he makes dramatic use of his four-octave range against spare but inventive arrangements of tunes from the further reaches of the great American songbook. On ballads, Bey's voice can have a humanizing tightness, a vulnerability that draws a listener in. But when the tempo quickens he can really belt it out: the New York...