GRACE POTTER &
THE NOCTURNALS
“Grace Potter & the Nocturnals”
****
ON their self-titled record, the Vermont-based band opens with a song they could retire on called “Paris (Ooh La La),” a driving blues stomp that brims with lust. It’s the kind of song Bonnie Raitt always sought as a young coffeehouse singer.
And that’s just one track. There are other jaw droppers, such as the surging “Medicine,” in which Potter tries on her witchy-woman mojo, teasing the listener: “I got the medicine that everybody wants” and “Money,” which has girl-group style locomotion. Top to bottom, this CD features an eclecticism that projects blues/rock swagger with a hint of funk. Buzzed about at the annual South by Southwest Festival, Potter and company, who perform at Webster Hall on Saturday, deserve the hype.
TOKYO POLICE CLUB
“Champ”
***
ON its third and latest album, the Canadian indie quartet breaks no new ground. Memorable for its catchy melodies and poetic lyrics, it is musically consistent with the band’s two previous CDs — and it’s nice to hear a group smart enough to recognize they have a good thing going. If there is any difference, it is the appealing easiness in David Monk’s vocals: His relaxed style makes him sound like he’s living the experiences of each song as he sings them.
The album makes a fine first impression by opening with a pair of loud, rowdy sister songs called “Favourite Food” and “Favourite Colour.” The album does slow down eventually, as it does on “Hands Reversed,” but most of the tunes are fast and party-ready.
DIERKS BENTLEY
“Up on the Ridge”
****
ON his seventh album, — in a departure from his usual modern country sound — Bentley fiddles with the essence of old-time bluegrass. Besides his own material, Bentley covers U2’s “Pride (In the Name of Love)” and Bob Dylan’s “Señor (Tales of Yankee Power).” Both are unusual choices for a country act, but Bentley’s interpretations let you enjoy such familiar songs in new inventive ways.
Bentley got a hand from some of Nashville’s elite including Alison Krauss, Vince Gill and Kris Kristofferson. Alone, he hits his personal best on the tune “Rovin’ Gambler,” a banjo powered story-song about a slick-dealing sweet talker. Bentley has always been a solid twanger, but he’s never connected with the wow factor until this incredibly beautiful and bright record.
Hot Hot Heat
“Future Breeds”
**½
If 2002’s “Make Up the Breakdown” is the zenith CD by the Canadian alternative rock band Hot Hot Heat, and 2007’s pop-influenced “Happiness Ltd.” is at the bottom, then rank today’s “Future Breeds” in the middle. On this disc, HHH starts to rediscover what we liked about them in the first place.
“Future Breeds” is best when the band leans into brash guitar songs. Among the best are the title track and “Nobody’s Accusing You (of Having a Good Time).” Other songs, such as the dance-beat “JFK’s LSD” and the very theatrical “Times a Thousand,” are less successful and seem to deflate a little with each play.
This is the kind of album you’d probably want to cherry-pick for the best tracks — and leave the rest.