THURSDAY, MARCH 1 Rickie Lee Jones at Henry Fonda Theater The story of Jesus of Nazareth has been told, retold, interpreted and misinterpreted by a legion of true believers, spiritual seekers and even fanatics who deliver salvation with a sword or a gun. Rickie Lee Jones is probably thinking of such zealots on her new album when she declares, “See all those people praying on TV and in the churches/they like to make a big parade out of what they’re doing.” She prefers having a private conversation with God on her new CD, The Sermon on Exposition Boulevard (New West), which was inspired by her producer Lee Cantelon’s book The Word, which recasts the Christ legend in an artier, more personal and less dogmatic fashion. And unlike the sometimes slick mainstream-pop settings of her early work, the best songs on Exposition churn with a raw, acoustic-based radiance, such as “Tried to Be a Man,” where her filtered, hushed vocals simmer over swampy Creedence guitars, evoking the boho vibe of her old pal Tom Waits. Jones sounds just as influenced by another oft-misunderstood Jewish prophet — Lou Reed — on quietly ecstatic tunes like “Nobody Knows My Name.” (Falling James)
Macromantics at the Echo If you think Lady Sovereign is a weak rapper with little to say besides how great she thinks she is, you might prefer Romy Hoffman, a.k.a. Macromantics. The Australian performer is much more intelligent and aware of the world around her, and she’s influenced as much by feminist riot-grrl icons like Bikini Kill, Crass’ Eve Libertine and Lydia Lunch as she is by rap forefathers like Wu Tang Clan, Big Daddy Kane and Nas. On her new Kill Rock Stars CD, Moments in Movement, Miss Macro wastes little time on braggadocio and self-affirmation, preferring instead to “axe and slash the fascist fucks.” She’s joined by guests Ground Components on “Dark Side of Dallas,” where she reveals a surreally poetic side when she chants, “I give you the swarm of apostrophes/who dream in patches of splashes as magic as black is.” She meets her match on the autobiographical statement of purpose “Locksmith,” where she exchanges robotic-voice verses with her male doppelgänger, Sage Francis. DJ Amy scratches up an intriguing brew of magnificent sound effects, although a little more melodic variety would break up Miss Macro’s singsong delivery. (Falling James)
Francophile withdrawal: French Kicks (Photo by Joshua Rothstein)
Related Content
More About
Also playing Thursday:
JOSH RITTER, SUBMARINES at El Rey Theatre; THE KRIS SPECIAL at Mr. T’s Bowl; BAD DUDES, THE MAE SHI, BIPOLAR BEAR at the Smell ; JOSH HADEN at Tangier.
