Respect for this weeks trace of origin. In this post you can admire the ways in which the excited instrumentals of a late 1960s chart topper was reconstructed into the smooth overtone that reverberates in The Pharcyde’s “Passin’ Me By,” and other differed representations that take a more subtle approach. Good music.

Really diggin’ what this girl is doing. Taking a look at some influential tracks and the ways in which they were manipulated to express something else entirely, she really captures the undeniable creativity that goes along with production through innovation and alternate perspective. Her compilation, along with the tracks themselves, are an overrall testament to good music and each artists understanding of it. What is art if not a combination of all that is beautiful?

With all the talent and charisma that defines him as both a Grammy, and Golden Globe nominated performer, English singer/songwriter Jamie Cullum has reemerged with the long awaited U.S. release of his third album under Verve Records, “The Pursuit.”

Following a four-year absence, the album possesses a familiar sound that is carried by Cullum’s distinct vocal resonance and interpretive instrumental approach that are apparent in his first and second albums; 2003’s “Twenty Something” and 2006’s “Catching Tales.”

            “The Pursuit” boasts 8 original works by Cullum, and 4 cover songs that contain a bit of his own new-age-jazzy flavor but not every cover blended well in the mixture. 

His own compositions include an upbeat proclamation of independence, “I’m All Over It:” a song that could have been enjoyable had it not been for the misplaced choir-like refrain; and also, an appreciable crooner tune, “I Think, I Love” where his steady vocals pleasantly reign over his typically overpowering piano.

            A shift begins to take place midway, when Cullum’s interpretation of Rhianna’s “Please Don’t Stop the Music” makes a poor attempt to fit in with not only the rest of the album, but also within his history of successful covers such as Pharrell Williams’ “Frontin’,” and the classic, “Everlasting Love.” 

He picks up the slack a bit from a crowd pleasing standpoint with his rendition of Stephen Sondheim’s “Not While I’m Around,” which was featured in Tim Burton’s Sweeny Todd: The Demon Barber of Fleet Street.

            While his vocal and instrumental talents are maintained in “The Pursuit,” there is little allusion to any sort evolution from his earlier albums. Current Cullum fans might acknowledge his consistency and unique style but in terms of attracting a new following for his big band sound and jazzy influence, only a few select tracks will suffice to ignite a moderate appreciation.

With a laid-back and vibrant rhythm that resonates throughout the entire listen, Animal Liberation Orchestra, or ALO as they are more widely recognized, has succeeded in finding a style and sound with which they seemingly fuse to with ease on their latest album, Man of the World.

The Southern California quartet that includes Steve Adams (Bass/Vocals), Dave Brogan (Drums/Vocals), Zach Gill (Keys, Accordion, Ukulele, Vocals) and Dan Lebowitz (Guitar/ Percussion/Vocals) relocated to Oahu’s North Shore in Hawaii for the recording.

There the band shacked up with the album’s producer, long-time friend and fellow Brushfire Records artist, Jack Johnson; whose presence can be felt in the work far beyond his contributed vocals.

“It felt like he joined the band for the album,” Brogan said according to the band’s online press kit.

ALO and Johnson have collaborated prior to this on numerous occasions including live performances and on “Girl I Wanna Lay You Down;” a track from the band’s first album with Brushfire, “Fly Between Falls.”  “Time and Heat,” “The Country Electro” and “Put Away the Past,” tracks from ALO’s latest, possess the rhythmic island vibe that Johnson had pioneered into the main stream some years back.  ALO’s innovation of that sound however, with their folky vocals, funky instrumentals and bluesy riffs, make for an enjoyably consumable set of songs for first time listeners and a breath of fresh air for ALO fans.  On the other hand, tracks like “The Champ” and “I Wanna Feel It,” do possess a quality among themselves but fall short in comparison to the rest of the album.

The gem that’s hidden within the work is the refreshingly natural feel that was the product of a live recording of the whole band for each track; opposed to the multilayered recording of each instrument and vocal.  While the sway inducing grooves and sweet-simple lyrics are capable of conjuring up an appreciation for the album, pleasant sums it up best.

Nearly 4 years since the release of her self-titled debut, British singer-songwriter Corinne Bailey Rae has resurfaced with her second album, “The Sea,” and emerged from the silence that overcame her following the death of her husband Jason Rae in 2008.

Titled after the final track on the album, “The Sea” proves to be more than a compilation of mournful songs related to her loss and seemingly misplaced one’s that are reminiscent of the melodic sounds from her debut.  Rather, it is what its title suggests; an expansive horizon of possibility through which she has combined the Neo-soul that made her an instant sensation along with a wide array of complimenting styles.

The ever-changing tone of the album can tend to get a bit messy however.  Songs such as, “Are You Here” and “The Sea,” explore Rae’s process of grief and reflection while, “Paris Nights/New York Mornings” and “Paper Dolls,” possess the potential sound that Rae may have been searching for prior to her loss.  Others such as, “Love is on its Way” have trouble finding their place in the provided separation between the two.

In comparison to her debut, which maintained a tonal consistency and more radio-friendly sound, “The Sea,” is an enjoyable artifact of expression, a portrayal of healing, and depiction of the ability to rise above and create.

Can’t beat the little things.