Instrumentals big draw on ‘Shadows’
Various Artists
“Standing in the Shadows of Motown/Deluxe Edition” (Motown) ••••
Here, at last, is the proper way to appreciate the Funk Brothers, the fabled Detroit rhythm section honored in last year’s documentary “Standing in the Shadows of Motown.”
Disc one offers the modern updates of Motown hits featured in the film, including Joan Osborne’s version of “What Becomes of the Broken Hearted” and Ben Harper’s treatment of the Temptations classic “Ain’t Too Proud to Beg.”
The big draw, though, is disc two, which is devoted to instrumental “remixes” of some of those classics, along with several live tracks and bits of dialogue from the film. You’d expect pop songs to lose something with the vocals stripped away, but the opposite happens: It’s possible to feel the energy coming out of the room these musicians called the Snakepit, the joy they had locking into rhythm together, the little things they did to take the tracks higher.
Though the singing talent attracted most of the credit, these tracks prove that Motown’s hit-making marvelousness stemmed directly from what happened before any vocals were captured — when the Funk Brothers went to work.
—Tom Moon
Mary Chapin Carpenter
“Between Here and Gone” (Columbia) ••
Halfway through her new album, her first in three years, Mary Chapin Carpenter rhapsodizes about the joys of a “Beautiful Racket.” Over ringing rock accompaniment, she skillfully explores one of her favorite themes: finding what really matters amid the crush of everyday concerns.
A few other numbers on “Between Here and Gone” also recall Carpenter’s hit-making heyday, when she combined lively and catchy music with themes of substance. There are no moments of just-for-fun release, however, and for the most part Carpenter resorts to the humorless, serious-artist-at-work mode that has become her favorite. Over spare, draggy arrangements that vary little, she sings in hushed, somber tones, the better to convey the deep meaning of it all. Geez, is it boring.
—Nick Cristiano
Beta Band
“Heroes to Zeroes” (Astralwerks) ••••
Three full-length albums into its enigmatic career, the Beta Band has finally made a record that’s truly great, not just conceptually interesting. No longer does the Scottish foursome’s reliance on the patently absurd make them sound like a barrelful of acid casualties running amok with a sampler. Where the Betas once were slapdash architects of disparate styles, they now thoughtfully link and build parts into movements, and movements into surging compositions.
“Easy” casually shuffles between pimp-funk, rootsy rock and tingling keyboard breaks in under three minutes. Put loud electric guitars in their hands and the Betas don’t overthink it; the three-chord glory of “Out-Side” plays like psychedelic rock crafted by our children’s children’s children. This stuff will still sound fresh that far down the line.
—Patrick Berkery
Patti LaBelle
“Timeless Journey” (Def Soul Classics) ••• 1/2
It’s been a long time since Patti LaBelle, Philly’s mistress of emotional soul, made a great record, one with complex melodies worthy of her heaving gospel power and subtle sadness. “Timeless Journey” is that record.
It’s close in spirit to the introspective mood of her 2000 “When a Woman Loves,” but without its sleek production. Producers including Babyface find the right palette to help her paint tales of new inspiration. While slow-boiling midtempo tunes (the racy “Good Lovin,’ ” “New Day”) bubble and bounce, “Something More” and “Hear My Cry” offer slower, dramatic melody. “Journey” lacks the raunch of her ‘70s output and the danceability of the `80s records, but the sound is still sassy, even deep within the quietest storm.
—A.D. Amorosi