ARTS The Michigan Daily - Wednesday, January 19, 2005 - 11 Molina changes name, channels Young By Andrew M. Gaerig Daily Music Editor MUSICR EVIEW* Jason Molina's stunning progression on record - from moderately interesting folk to raging Crazy Horse art-rock in about two years - has been paced only by his progression as a live artist. In the proud W1lams improves with age on Love' By Jacob Nathan Daily Arts Writer MUSIC R EIEW On her latest release, Everlasting Love, pop diva Vanessa Williams, grows into her age. In this mature outing, Williams boldly sidesteps the bloated and predictable produc- tion of her peers in favor of more old-fashioned sensibilities. She intel- tradition of Americana artists self-important schtick and got themselves a kick-ass rock band (looking at you, Bruce Springs- teen), Molina has retired his longstanding Songs: Ohia mon- iker in favor of Magnolia Elec- tric Co., a bristling, five-piece behemoth that approximates the ragged distortion of Neil who dropped the Magnolia Electric Co. Trials & Errors Secretly Canadian Young and Crazy not giving in / That happened miles ago / I heard the north star saying / 'Kid you're so lost, even I can't bring you home.' " The guitars burn, the drums hold steady and for nearly eight minutes, it sounds like the clouds clear up. These songs, along with the serenely plodding "Don't This Look Like the Dark," represent the synergy of Molina's considerable songwriting tal- ent, his soulful voice and the band's loose jam. Else- where, Molina reminds fans that this is a live album. The shortest song in the 10-song set is well over five minutes, while most run over seven. The band's wandering never crosses into ugly self-indulgence, but they do flirt with it. The reworkings of old favor- ites like "Cross the Road" and "Almost Was Good Enough" are both welcoming to old fans and dis- tracting to anyone more interested in Molina's evo- lution than his history. The last two tracks, including the brutish "Big Beast," are enjoyable tour tracks that should probably remain just that. Molina's debt to Neil Young - which was never in question - is cemented when he emerges from long instrumental breaks with fragments of Young tracks ("Walk On" and "Out on the Weekend"). Ultimately, though, these are the kinks that bands iron out on the road, and this release sets up the band's impending studio full-length brilliantly. Even Molina newcomers should be able to forgive the faults of this live disc. This is a powerful band finding its first legs, playing American country/folk/ blues with a sincerity and passion that most bands - especially underground bands - can't fathom. Trials & Errors serves as a brilliant, impassioned bridge to a sky-splittingly bright future. Horse and the straightforward boogie of Creedence Clearwater Revival. If his recent live performances are to be believed, Molina is himself a reformed man. No longer chas- tising audiences for a lack of attention, he playfully introduces guitar solos ("You still got something to say about it?") and crooning like he's trying to charm the sky out of raining on his classic rock parade. Trials & Errors is the unit's first album as a group, recorded on stage one night in Brussels. Consisting of only three tracks from past albums, the mostly new material has its share of road bruis- es, but the band never falters, propping up Molina's country-isms with joyous energy. Molina hasn't completely abandoned his weary Courtesy of Secretly Canadian "Hey, I can see Vanessa,Wil jams from here." persona - his lyrics still contain plenty of dreary Midwestern hopelessness. The titles of the album's first two songs contain the word "dark," and the third track, "Such Pretty Eyes for a Snake," comes closer to his he-man-woman-hater early work than anything he's released in years. But for the most part, his new work is imbued with a sense of for- titude - sonically if not lyrically - that his prior work lacked. The blissful jaunt of "The Dark Don't Hide It" masks malicious intent, and the tempered trumpet that interrupts the verse of "Leave the City" is the sonic equivalent of a cigarette warm- ing stubby fingers. "North Star," despite two minutes of introductory noodling, is the album's standout track. Molina's poetic verse merges with aged American cliche as he moans: "Darling I'm ligently opts for a smoother musi- cal approach that highlights vocal restraint instead of excess. The overall feel of the album is a throwback to Vanessa Williams Everlasting Love Lava the type of R&B popular throughout the early '90s. At times, the promi- nent bass in the backing can sound dated, but Williams's spin on it is enticing and seductive. With Ever- lasting Love, Vanessa Williams has produced an album that is simultane- ously refreshing and nostalgic. Instead of attacking the listener with the soaring crescendos that Whitney Houston was once famous for, Williams uses the subtleties of her voice to make a tantalizing sound. By not attempting to cover six octaves in a single bar (take that, Mariah Carey), Williams stays comfortably within her range. This gives the album a relaxing feel, yet when Williams does come out with a bursting verse late in the song, it still induces goosebumps. The ' idea of love is brought to the forefront on one of the album's standout tracks, "Let's Love," a retro groove that places a huge emphasis on Williams's vocals and showcases her greatest strengths as a vocalist. She teases and tweaks all through this song, with the tiny quirks of her voice adding a dynamic layer to a fairly standard track. As she plods through lines that could suffer from clich6d lyrics, she still maintains her credibility by actually making the song fun and spunky. Moments that suffer from a lack of excitement are actually made stimulating by the del- icate dips of her voice and the razor- sharp instrumentation. In the song "Harvest for the World," Williams expounds upon her political views and mixes her pre- tentious ideals with funky backing musicianship. It's so good it could've been recorded by Earth, Wind & Fire. While what Williams is trying to say gets lost, the song sounds so good that it doesn't even matter. The tracks on the album stay in roughly the same territory, even the missteps. "Never Can Say Good- bye," a duet with George Benson, is a poor track. The lyrics, sappy and repetitive, are uninteresting, and fail to capture the strengths of Williams's voice. This song does, however, fit within the overall tone of the album. "I'll Be Good To You," the album's guilty pleasure, is Williams at her most engaging. The games she plays with her voice are intriguing and overtly sexual. Just when her style is reaching its pinnacle, soul pow- erhouse James "D-Train" Williams lends his vocals, turning the song into a transcendent duet. Everlasting Love will mainly appeal to Williams fans, as it covers little new ground. Nevertheless, it still captures the voice and style that have made her so well known. Over- all, Williams has not only crafted a cohesive album, but has also pro- vided her listeners with a refreshing take on tired R&B. \ ...., / I I Thirsty for knowledge? 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